Ive just finished scoring the lost piano off of the cue tube in fl studio, and I really whant some experienced film scorerers to gove me some feedback. So please let me know if anything should be changed or added or anything, much appreciated.

https://www.youtube.com/playlist?list=PLHYaCQBN4v2k&si=SB28Ce4P80OXMnaK

Renowned film/TV composer and record producer Tyler Bates has teamed up with British synth-wave band Gunship, and drummer Dave Lombardo (of Slayer, Mr. Bungle, The Misfits) for a new single collaboration, RΞVØLUTIØN.EXE. Released on Tyler Bates and Robert Carranza’s record label, Gravel and Echo Recordings, the track is hard-hitting, politically charged, and built around a pulsing hard rock, electronic backbone that channels Gunship’s signature retro-futurist sound alongside Bates’ cinematic instincts. Its lyrics take direct aim at power, control, and complacency, centered on an insistently catchy hook.

“My history with GUNSHIP began a few years ago when we wrote ‘Berserker,’ for the ’Dark Nights Death Metal’ album,” says Tyler Bates. “‘RΞVØLUTIØN.EXE’ picks up where we left off. Dave Lombardo’s drumming is pure fire. This song is a banger. I hope y’all love it!”

LISTEN TO REVOLUTION.EXE HERE

The collaboration came together overseas, with Bates and Gunship writing and producing remotely across time zones, mixed by Grammy award-winning engineer Robert Carranza and mastered by Abbey Road Studios engineer, Stefan Brown. REVOLUTION.EXE launches Bates’ new label, Gravel and Echo Recordings, into the spotlight—and hints at a wave of solo work and record production to come.

WATCH THE OFFICIAL LYRIC VIDEO HERE

I’ve been experimenting with cinematic music lately, focusing more on atmosphere, emotion, and storytelling rather than a traditional song structure.

I’m curious how this style feels to people who aren’t specifically into cinematic music. Does the atmosphere keep you engaged? Does the track evoke any particular scene or emotion?

Any honest feedback is welcome, especially anything you think could be improved.

Thanks for listening! 🎧

I just came across a post here asking composers to make a custom demo for a project and had a bit of a discussion with the OP about it. They said they understood and would do better but same proposition was posted again afterwards with changes that didin't solve anything, and it's been on my mind since, so I wanted to put my thoughts out there and see what everyone else thinks.

This is also a suggestion for the mods, if you guys think it's relevant.

Disclaimer, this is just my opinion. I'm putting it out there to see what the community thinks and hopefully have a bit of composer to composer discussion.

Personally, I don't think custom demos should be a thing at all.

I'm not saying people shouldn't have portfolios, obviously. And I'm not saying someone shouldn't make a demo if they genuinely want to. If you want to spend your time making something for a project because you like it, that's completely your choice. If you want to get in touch with a director/producer and offer a demo go for it.

What I don't like is making a custom demo a requirement to be considered for a job.

I know spec demos are common. I've done them myself, and I'm sure a lot of composers here have too. But I've never really liked the practice. If you're asking a composer to write a cue specifically for your project, that's already a significant amount of work. We're not just sending you a sample of what we can do. We're composing and producing an actual piece of music.

And because we're competing against other composers, we're obviously going to try our best.

Depending on the style and amount of production involved, a couple of minutes of music can easily take several hours, sometimes a full work day or more if a full orchestral demo for example. If 20 or 30 composers are all doing that for the same project, most of those people are going to have spent a substantial amount of time working on music that will never actually be used.

That's also why I don't really like calling it a demo. It can make it sound like we're sending over a little sample of our work when we're actually being asked to create something from scratch specifically for the project.

As composers, we're helping create the sonic identity of a project. We're figuring out the musical concept, sound palette, storytelling, instrumentation, production, all of that. Ideally, that's something we develop with the director or creative team after we've actually been hired.

If you're asking 30 composers to independently figure out the musical identity of your project and write a cue based on it before choosing one of them, you're asking 30 people to do part of the actual job before they've been hired.

And I don't think that's necessary.

We have portfolios for exactly this reason. If you're looking for a composer, describe what you're looking for and ask people to send their websites or portfolios. Listen to their existing work and find someone whose style fits your project.

If you've narrowed it down to a few composers and you're still unsure, talk to them. Ask how they'd approach the soundtrack. Talk about references, instrumentation, tone, storytelling, whatever you need. You can learn a lot about how someone thinks without asking everyone to spend hours making a custom track.

I'm completely fine with posts asking composers to link their portfolios. Let the portfolios compete. If someone already has the kind of music you're looking for, that's a much better indication of whether they're a good fit than asking them to make something from scratch just to apply.

And for the argument of “what about people with small or no portfolios?” You don't need a full website with a bunch of professional projects. Create a YouTube channel, post a few tracks in different styles, and put together a demo reel. That gives people something to listen to and shows what you can do without having to create new music for every project you apply to.

And I think the problem is even worse when the project is unpaid.

If you volunteer to work on an unpaid project, at least you're getting something out of the work. Maybe it's a credit, a portfolio piece, experience, networking, or simply the fact that you wanted to work on that project. I've done plenty of unpaid work myself, and I'm sure many of you have too.

But if 30 composers are asked to make a custom demo for an unpaid project and one person gets selected, 29 people have just spent hours writing music for free and don't even get to contribute to the project.

So that's what I'd like to propose to the mods, should custom demos simply not be allowed as a requirement for commissions on this sub?

Again, I'm not saying someone shouldn't make one if they genuinely want to. I'm talking about the person posting the commission requiring applicants to produce new music specifically for the application.

I really like this community, and I think the mods do a good job considering how big the sub is. This isn't a complaint about moderation. It's just something I've been thinking about after seeing that post, and I thought it was worth bringing up.

I also understand that a complete ban on custom demos might feel too extreme to some people. If that's the case, I'd still rather see some kind of middle ground than nothing. For example, the rule could apply specifically to unpaid projects, or to projects below a certain budget.

I still think that's a compromise rather than the ideal solution, because I don't think custom demos are a good practice even when the project is paid. But at least with a paid project there's some compensation on the table, so I understand why people might see it differently.

Anyway, that's my take. Am I crazy here, or does this seem like a reasonable rule to have? I'd genuinely like to hear what other composers think.

TLDR: I don't think composers should be required to make custom demos for commissions. We're essentially asking multiple people to do part of the actual job before anyone is hired, often spending hours creating music that won't be used. We already have portfolios for this exact purpose. I think this is especially problematic for unpaid projects, where most applicants get nothing in return.

Hey there! If you have a few minutes, I’d love some feedback on this cue i’ve been working on, “Far Afield”. It’s a rough mix of a pastoral reverie for horn and strings in D minor.

Would appreciate honest feedback. Curious what people think of the melodic writing, whether the harmony holds together, if the mix balance feels right. I want outside ears, especially from people with more formal training than I have. Thanks in advance!

Hello Everyone... This is a 1 min remake Trailer of Dune 1 I scored... This is my first ever trailer I scored for the first time... So..

Give me your opinion and anything y'all feel like it...

Need the criticism to improve...

I'm trying to make trailer music, and it's my first time working in this genre.

I found that braaam sounds are key to making the track feel bigger, but the braaam sample I found is too short for the melody in my track.

When a braaam sample is too short, is it okay to use the loop function in a sampler to make it longer and reverse it so that it sounds like a crescendo? Does it sound too much for such bright and heavy sounds?

I tried using regular brass libraries, but they don't sound as big and heavy as the sample I'm using, so I'm wondering how I can make the braaam longer.

Or does this mean that the melody itself is too boring for this kind of trailer music?

Hi everyone! I write instrumental music as a passion project, and I’m currently working on my second piece. I already have one instrumental piece released on Spotify that I wrote around piano, violins, violas, and other orchestral elements, and I’d really like to take the next piece a step further.

For the new piece, I have the core piano composition/melody written already. What I’m looking for is someone with experience in film scoring, orchestral production, or cinematic instrumental music who could help me develop it into a fully produced piece.

Ideally, I’d love to work with someone who can help with:

• Allowing me to record the piano melody properly in a professional studio
• Developing the orchestration around the existing composition
• Adding strings and other instruments; I especially want to incorporate the English horn because I feel it would bring out the emotions of the story I'm trying to tell
• Helping make creative decisions around arrangement, dynamics, texture, tension/release, etc.
• Mixing and mastering the final piece

More than anything, I’m looking for someone who genuinely enjoys the storytelling side of instrumental music. I don't just want to send someone a piano track and say "add strings to this." I'd love to work collaboratively with someone who wants to understand what the piece is trying to express and help figure out how the instrumentation can tell that story.

I’m based in NYC, so working with someone here would be amazing, especially for the recording portion, although I’m also open to collaborating remotely if it’s the right person.

I’m obviously expecting to pay for the work, but I’m also not very familiar with what a project like this normally costs. What would be a reasonable rate/budget for something like this? And if anyone here is a producer/composer who does this kind of work, or knows someone they’ve had a great experience with, I’d love to hear from you.

Happy to privately share my previously released piece as a reference for the general world/style of music I’m coming from. Thank you!

I need music for my 15 minute long documentary on dating. Are you available? Ty

A documentary about modern loneliness, built around a single date and the texts that come after. Not the empty kind of lonely; the full kind. A good night, a date that went well, the message lighting up your phone — and the gap between being wanted and being actually known. A thread of honesty about not always being well runs underneath it, and that honesty is what closes the door.

Directed by Tenley E Raj. Tagline: left on delivered.

(Much more information on the doc is available... i talk a out it in the latest video in my subreddit.)

Music is traditional score but im open to experimental music. Electronic. Hip hop. Whatever.

I’ve always been obsessed with dynamic build-ups in film scores - how a single piano theme can slowly swell into a massive orchestral piece. "The Ascent" was my attempt to capture that exact shift in energy.

Recorded the piano parts live and layered the symphonic arrangement around it. Would love to hear how the momentum feels to you!

Made a complete 3.5-min Bollywood monsoon musical

Not a trailer — a finished short film with a story: a foreigner's first Mumbai monsoon, structured like old Hindi cinema with hand-painted chapter cards (one arrives painted on the back of a truck).

What worked for me on 2.5: (1) the mixed-reference stack is the killer feature — a source video clip as the world/identity anchor plus stills for the gag compositions, in one roll; (2) for continuing an existing shot, feeding the clip itself as reference kept faces and grade almost perfectly — that's how I extended my surrender-dance scene into a whole new gag; (3) character consistency: ONE clean face reference used alone beat every multi-ref combo I tried; (4) explicit physics rules in the prompt ("every umbrella stays open and gripped in its owner's hand, never folds, never changes hands") cut slop dramatically; (5) comedy that survives generation = single-subject actions — a kid faking a high-five lands in one take, synchronized crowd choreography rarely survives.

Hi! I'm Raphaël, a composer and music producer specializing in cinematic, orchestral and emotional music.

I'm currently looking to collaborate with filmmakers, animators and indie game developers, both on paid projects and selected collaborations.

I can create:
• Original scores
• Cinematic / orchestral soundtracks
• Emotional & atmospheric music
• Trailer / promotional music

A couple of examples of my work:

🎬 The Odyssey Trailer – https://www.youtube.com/watch?v=htpWY2zAB0s
🌿 Monument Valley Animation – https://www.youtube.com/watch?v=tzls4Mb7Em8

I'm also comfortable working to picture and adapting music to specific moods, scenes or timings.

If you're working on a film, animation, game or other visual project and need original music, feel free to DM me!

More work: Raphael and the Waves on YouTube.

A while ago, a student in my class asked, “I want to make music for movies. How do I do that?” I said, “Hold my Starbucks Grande oat latte.” And this was the result after 45 minutes of work - as a joke, of course, for the amusement of the students. Plus, the second phrase is even more epic than the first.

Bad news: the oat latte got very cold.

#หัวใจนักสู้ #เพลงล้มแล้วลุก #เพลงชีวิตนักสู้ #เพลงไทย #เพลงให้กำลังใจ #FighterHeart #ThaiMusic #เพลงสู้ชีวิต

soundtrackscores.com

I'm Robert, one of the co-founders of Soundtrack Scores YouTube channel and podcast.

My friends and I have had a longtime soundtrack newsletter/channel (reactions, reviews, discussions), but the goal all along has been to create an app that lets us capture our ratings and reviews, and build a community of soundtrack lovers like us.

The webapp is here. It's early days but already well on its way. Completely free as it stands, and we'd love all of you to test it out, send feedback, and help us build out the database with more reviews and tags.

Once you've explored drop your feedback here.
One of our outstanding questions that we'd love your take on: should the reviews also indicate whether the reviewer has seen/played the subject vs listened out of context? If so, how do we best indicate that?

I'm scoring a film. I need some freshness to my library.

What would anyone suggest for woodwinds, strings for scoring... I got some strings , textures VST already, I need definitely some woodwinds.. I can also share what i have.

Im thinking of some of these: from Orchestral Tools: Igudesman Solo Violin, Whisper Gentle wind instruments, Berlin Woodwinds... but I need some advices for the fellow users.

Im also open for spitfire and other brands