View Full Version : "Feel the Wind" Inspired by James Horner's "Deep Impact" HS/ HB Diamond

03-04-2012, 02:47 AM
Hey guys, here's a piece I've been working on. Titled "Feel the Wind", inspired by my favorite composer, James Horner (or at least the composer I most relate with), with some nods to the "Deep Impact" soundtrack. Recorded with Hollywood Strings/ Hollywood Brass.

Let me know what you think,



03-04-2012, 05:28 AM
I felt it was a bit simple. The melody and the structure are ok, but the orchestration lets it down a bit. The strings, certainly in the beginning, all move like a block, while having 5 string sections allows these cascading lines which are typical of the genre; the cello line works well, though. Also, the register of the horns(?) at 1:10 seems to be too high for the required smooth but strong sound. Transposing everything down a bit or choosing another combination of timbres might work better.

PS Do you really use GarageBand? Logic Pro is quite cheap these days and offers a lot more flexibility...

03-04-2012, 08:04 AM
Thanks for the input, I'll have to listen to it again today with fresh ears. I have Logic Pro, I prefer GarageBand. I usually bring songs into Logic for finishing, but not always.

03-04-2012, 09:06 AM
nice one! my main comment would be to give the piece a little more dynamic range... it sits at mf to ff nearly the whole time... the violins are a huge presence for the first 1:15 and when they get a break the brass is in full force. I really appreciated the ending though, 2:05 thru the end was my favorite part. nice work isaac!

03-04-2012, 11:49 AM
Hmm, there's an odd jumpy string sound at about :56 in the cello, and I've heard this a few times in Hollywood Strings demos and recordings. Is that common?

Anyway it sounds really good. As tedreedy said maybe having some softer moments would widen the dynamic range, but I wouldn't worry about it being too simple or poorly orchestrated. I think it should be simple, like how Ode to Joy is simple but strong.

03-04-2012, 01:40 PM
Thanks for your compliments guys. Casiquire, there are a few glitches in the HS/HB sound here and there (when the software tries to blend certain articulations together), but the majority of the time the sound quality is so excellent, I hardly notice the glitches - I'm just very grateful to be able to have tools that allow you to, even in the smallest degree, forget that you're not listening to a live orchestra.

Yes, there are a vast many ways to tackle a composition, I find many times I appreciate a still, contemplative piece. I do appreciate compositions that thrive on constant motion and musical variants, but I also appreciate the more subtle approaches. For example, I'm a huge fan of the Lost soundtrack, and some of my favorite moments in those scores are when Giacchino takes the time to pause, and really insert a nice peaceful/ contemplative piece. One of my favorite examples of this is here. http://www.youtube.com/watch?v=E7LPXH0a1Mo

James Horner also does this on and off through his scores. I do appreciate a variety of opinions, and it's nice to have such well rounded feedback on these forums. I am finding out I do enjoy composing the more contemplative pieces though. When I have opportunity to compose a more gritty/ action oriented piece I'll remember all the input I'm getting on composition/ constant movement by the other non/lead parts. Haha, but don't be offended if I pump out more of these contemplative pieces, they're definitely my favorite. I'm hoping to make a themed album out of them in the next year.

Also, to the need for more dynamic range, listening to it again today, I can see improvement for that. Thanks for the input. I think though, as a piece not specifically intended for cinema, having slightly less dynamic range is more helpful in a public listening setting. For example, I have movie scores playing all the time at work, and I'm constantly having to adjust the volume to accommodate a desire to hear the quiet parts, and a desire to not be sound blasted while trying to take a phone call, lol. So in that sense, as this will probably go in a movie-soundtrack-like/ easy listening album, maybe a little less dynamic range is better. But, I may try to find a happy medium, as I do agree with that comment.

And thanks Tedreedy, I do love those still endings, that's the kind of thing you'll hear at the end of the credits, as the main composition has run it's course, and the composer needs to fill the last 40 seconds or credits! Those too are some of my favorite parts in a good score. Love the opportunity to pause and make an emotional connection to a score.