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Adding to the ‘finished’ stack…

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Creative Commons License
The works below are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License and ©2013 Gregory Weaver.

Hey! It’s been awhile. I’ve got two tunes for you to check out.
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Fanfare and Jubilee (Remastered)

euro_medieval_fair

This was actually completed about three weeks ago…

If you compare it to the original versions of the tune you’ll find some changes in the actual composition (as opposed to the sound), but nothing too significant. Mainly, I made the ending shorter so that the listener wouldn’t lose interest. I had thought before that the buildup to the large section that features all of the instruments playing together would be a good idea; however, even I as the composer was fatigued by hearing just one instrument come in at a time. Also, you’ll notice that the trombone starts off the buildup instead of the trumpet, and the percussion doesn’t take extra time to build up either. I think you’ll agree if you compare the two that it was in every listener’s best interest to shorten that section.

While this tune is technically final, having sought out some criticism of it I learned from other composers that they find the mix too dry. While I set out for a drier mix, I am going to run with the suggestions and see how I can improve the sound of the piece by altering the reverb to give it more depth.

(“Fanfare and Jubilee” on SoundCloud)
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A Binding Harmony

This next tune was written for the TIGSource Musical Challenge XXIII. You might recall that I entered one of the challenges a while back with my tune “Mr. AC (Keep Your Cool).” For that tune, the challenge was to make a thirty-second looping battle theme; for this, things were a bit less constricting. The challenge was, simply, to create a love theme. More

Woods Theme (Remastered)

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Creative Commons License

The works below are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License and ©2013 Gregory Weaver.

woods

It’s been a long time coming, but I finally got around to remastering the first track that I ever did for this blog, “Woods Theme” (or “Theme for the Woods,” as I called it in earlier posts).

I’ve said it once and I’ll say it again: I usually do my larger-scale compositions in Finale first, which doesn’t have quality sound samples. So, I always aim to go back and remaster the tracks I write in Finale by putting them into Logic and using better samples, as well as by making my own mix instead of using what Finale does automatically.

It feels good to get one under my belt. It’s definitely not my favorite part of the creative process, but it certainly is fulfilling when you finally feel satisfied with a mix. There’s so much to be very meticulous about, and if you don’t have a ton of experience in that world, it can be maddening. Luckily, I have the time right now to stop, let my ears rest, and then resume later, which makes things better on the mental side. Arguably, there’s always that looming “just get it done!” approach that is very effective for the mind and for productivity [which I skimmed right over]; however, at least for this tune, I wanted to make everything perfect. And I kept on learning up until the last bounce as a result.

Remastered (Logic): 

Original (Finale): 

“Woods Theme (Remastered)” on SoundCloud

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I even set the remastered version to someone’s walkthrough of The Legend of Zelda: Skyward Sword, below:

While you all have heard some of my other final cuts on tunes that have been produced in Logic, you hadn’t yet heard an orchestral piece. As you might imagine, it can take longer to do the production on a piece the more instruments one has because s/he has to make sure that everything is the right balance in every section of a tune. When conducting, a live orchestra, one has the benefit of the musicians knowing what dynamics to play when. They also know how hard to play notes and how to emote passages in the best manner. Everything melds together well due to a combination of the players’ training, what’s written on the score, and what the conductor is doing. More

Interview: Greg Edmonson (‘Uncharted’ OST)

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Greg EdmonsonBack in mid-November, after finishing part 2 of my review of the various versions of “Nate’s Theme,” I decided to send an e-mail to its composer, Greg Edmonson, because I really wanted to talk to him about his works.  I hadn’t heard from him and followed up, but still found no response in my inbox.

A month after my first inquiry, having given up on the interview, I found myself randomly wondering whether or not spam message get forwarded to one’s main e-mail account from his or her secondary ones (I have many e-mail addresses that route to a singular one).  So, I logged into one of those accounts and looked in the spam box.  Sure enough, spam messages don’t get forwarded.  Sure enough, there was an e-mail from Greg the day after I sent him my first inquiry that read: “Hi Greg, I would be honored to do this… Let me know… I will put it in my book!!”

Yes, he even used two exclamation points.  Talk about facepalm.

I frantically typed up an apology letter and added him to my safe-senders list.  Not too long after that, I got another e-mail from him and we both agreed to get back in touch after the start of the new year, yadda yadda, then I interviewed him on Valentine’s Day.  Now that I’m finally done doing a basic clean-up of the audio of the interview, I present it to you, dear readers!  But first, a post-preface preface:

Firefly OST picI knew that Greg would be great to interview because I had already heard an interview of him a couple of years back.  From the get-go, Greg was just as I had expected him to be: someone who is very amicable, passionate about his work, and someone who has a lot to say and naturally goes into a lot of detail while speaking.  You’ll notice in the interview that I really don’t ask too many questions, and some of the questions I do ask are just me reacting to his narrative.

He is also someone who is very gracious, thankful for what being a composer has afforded him.  He gives credit where credit is due, and when he talks about having opportunities that seem to come with the territory of being in the position that he is as a film and game composer, you can tell that he has not lost the sense of wonderment that one might have when they first get to do the things that he has been able to do and accomplish.

Because of Greg’s great personality, I think that you’ll enjoy listening to the interview as much as I enjoyed giving it.  It’s certainly a long one, but Greg makes it sail by easily.  Sorry ahead of time for the random noises of my chair creaking, my loud laughter, and the technical malfunctions that you might hear.  Also, we jump around a bit during the interview, but I tried my best to break it down below: More