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  1. #1

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    Something made from California Screamin' footage and cool music

    Hi I'm a bit new here and already liking it although to prove that I'm worthy enough I wanted you to review this video


    <object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/r65LlaZP7t0...</param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/r65LlaZP7t0&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>

  2. #2

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    Re: Something made from California Screamin' footage and cool music

    WOW. That's pretty cool. I think I prefer the original music for the ride, but that's still really cool. It would make perfect exit music.

  3. #3

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    Re: Something made from California Screamin' footage and cool music

    pretty cool, but too techno! prefer origanal Music

  4. #4

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    Re: Something made from California Screamin' footage and cool music

    While the music is actually very good, it needs to interact with the ride a bit better. The tempo, highs and lows of the actual music change to reflect whats happening to the train. While your music does do this, the real music does it amazingly. But, don't let that stop you. (most of my ideas on here get shot down instantly and without remorse. haha)

  5. #5

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    Re: Something made from California Screamin' footage and cool music

    Quote Originally Posted by TrevorD View Post
    While the music is actually very good, it needs to interact with the ride a bit better. The tempo, highs and lows of the actual music change to reflect whats happening to the train. While your music does do this, the real music does it amazingly. But, don't let that stop you. (most of my ideas on here get shot down instantly and without remorse. haha)
    I appreciate and commend your efforts ASC, and I have some advice if you plan to go further in your quest for ride music supremacy.

    First, TrevorD is right about interaction, interaction is paramount. It's like ballet, the dancer(s) are not simply moving at about the same time that the music is playing, they're unifying their bodies to the sound, as if they were themselves an instrument or voice. Soundtracks are choreography done in reverse, they are musical scores that unify themselves to the visual/motion/action narrative. A good score, like the Screamin' soundtrack, or my all-time favorite the original Paris Space Mountain soundtrack, tries to emulate the obvious coaster elements in bold and obvious ways: tall lift hills get ascending chromatic modulation, helixes are attached to harmonic cadences and tonicisations, loops get the sostenuto treatment along with sudden drops or unexpected airtime, and fast uphills get the rapidly building percussion feature.

    In order to familiarize yourself with the typical "sound-painting" techniques of roller coaster composition, I recommend a heavy dose of the Screamin' soundtrack, Dale's original Space Mountain DL soundtrack, the IJA soundtrack and the Star Tours in-ride soundtrack (let's just keep it local). You must listen intently and focus on what you see. It helps to memorize the visuals in the ride and then listen to the soundtrack with your headphones on a remember those visuals as cued up by what you hear. When you can learn to connect these musical cues, you'll begin to understand the "language" of ride music. What does a cymbal crash say about what's going on? If there is a solo oboe, what emotion is it trying to evoke and where does that fit with the motion riders are experiencing? You must get up to speed with this dialect so that your music will properly communicate to the audience. I don't mean to stifle your creativity, but it often helps to dissect a successful score on paper, or in your composition program, just to get a deeper detail of the parts that make up the beast.

    Alright, now that you've put your head in the right space, you understand the nature of the exercise and you've had time to get the right tools in your belt, you need to find the right project. CHOOSE A RIDE THAT DOESN'T HAVE A SOUNDTRACK. You don't want to have your work compared to others, at least not until you're absolutely sure you've bested the original, but in this game that ain't easy (ask Michael Giacchino). So, try something differen't. The matterhorn has two seperate tracks, and if you consider doing a daytime score and night music that gives you four rides. Or, maybe you'd like to do a medley and write music for Storybookland (though I should warn you from experience, just because the music already exists does not mean it will come together faster, if anything it'll take longer to figure out how to connect the jumbled mash). Consider writing music for a spinner ride, that's 90 seconds with a maleable set of elements that you can play to.

    Give yourself time, lot's of time. Haydn wrote over a hundred plus symphonies in his life and just about ten of those actually get played, most of them ignored. Brahms wrote four symphonies and conductors dust those off for dozens of new recordings every year, many in the complete cycle. The point is that quality really must be your objective. What if you plan to take your music to the park, on your iPod, and then show it off to your friends while they ride? Wouldn't you want to be sure that you've written music that will move them as much as the attraction you're on? Never underestimate how long it will take to properly create and audit your work, not just in the addition of music but also in the subtraction. And you'll need clarity too, time to walk away from the piano or staff paper and clear your head (sometimes this can take me a few days).

    When you think the music is ready for riding, go hunting on YouTube for recent ride videos. You'll need to try your soundtrack out on any and every POV you can watch (or stand to watch) to assess accuracy of timing and margin of error. Don't forget that different trains have different weights and will be affected differently by gravity. My strategy to get around this problem is to create a two second pocket of musical cues that assume the possibility of a train getting into the element too quickly or slowly. After four or five videos you'll get a sense of the "pinch" points and the control areas in the ride. If you've put this much effort in than I'm sure your entry will be fit, lean and ready for action.

    I hope that you continue in your pursuit. Keep at it, be confident in what you hear, and most of all be brash. And when in doubt, think of Stravinsky and his infamous declaration, "a good composer doesn't create, (he) steels."

    Best of luck, Sea.
    "You know it's a funny thing, but when I drink too many Gin and Tonics I start to glow in the dark."
    A. Trebek, Jeopardy, aired 7/15/2010

    SHAMELESS PLUG- Check out my gallery of original ride music...

    http://www.youtube.com/watch?v=1GLbC...layer_embedded

  6. #6

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    Re: Something made from California Screamin' footage and cool music

    I almost forgot what Paradise Pier looked like with water in it!
    DJ Maverick
    Owner of Ace Entertainment Mobile Disc Jockey Services

    Disneyland AP Holder Since 1994

    If planning an event in Southern California check out http://www.planace.com for all your entertainment and wedding services needs!

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