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Comments
@LinearLineman Indeed, I did use your motif - I put two of them inside SpaceCraft with mLFO very slowly changing the play positions, gate, reverb etc. in an attempt to get a bit of gently disorienting chaos.
I got that too. You need to open a new YouTube page directly in your web browser to avoid it.
Thank you all, I spent great one hour time, sound and music, mastering, sfx - all keeps me by whole movie, without any pause.
I seen this movie first time so even better. You did great art. Full pro of course. I liked this so much. The music was so interesting, and intense, but not too intense, it goes from focus to background, into unnoticeable deep in mind, sometimes I forgotten that I still listen soundtrack. Wow! 100/100.
Great job everyone! Just finished watching (got off work a little early and couldn’t wait) and that was really impressive. A great piece of collaborative work by so many talented people. I hope there will be more like this in the future.
By the way, Happy Halloween everyone!
Happy Halloween indeed! We definitely need to get the word out more because although those who watched it tended to love it - at least the vocal ones lol - its viewing figures are low. I'll look up some youtubers and film critics etc who specialise in horror and / or silent movies and get the link to them. Anyone got any other ideas?
We definitely do! Was nice to see you guys in the live chat Doug 👍
Yes, it was great to see so many in the livestream chat and fun watching and listening along.
Kudos to all the organisers and contributors.
I woul certainly be up for another one at some point. 😀
Thanks so much to everyone that organized it and put it together!!!
@LinearLineman : I based my whole piece off your motif! Used Scaler to work out what notes it was, and went from there. I also explicitly used your recording of the motif in one or two places in the piece, heavily effected and distorted, as you can hear in my section, which starts ten minutes in, when the guy is looking at the picture in his room. (The speech by the way is the app Talker, saying ‘she must not die’ in German, which is what the old chap says when he comes into the room)
We got a brief but very positive review and link over at https://electro-music.com/forum/post-452803.html#452803 from the forum owner:
'A collective of EM artists from the Autobus forum today, Halloween, released a score for the 1933 classic horror film, Vampyr. This brilliant film is scary even when silent. This collaborative score enhances the film greatly. It proves the electronic and ambient music can indeed be emotionally evocative.
Congratulations to the organizers and the artists who created this score. I highly recommend everyone watch this.
wow!'
🥂👻🎉
I'd love to hear breakdowns of how each piece was created.
Me too, I enjoyed reading Svetlovska's description.
Plot spoilers ahead!
So mine was basically 2 pieces - 1 when the girl arises from her bed after the vampire is killed. This orchestral section was barefacedly generated in the Moodscaper app and processed using things like PaulStretch, Reelbus or Chow Tape (think the former but can't remember offhand).
This then segues into the 2nd piece which is a lot more experimental and foreboding and was made using several instances of Fundamental, each focusing a bit more on different parts of the frequency spectrum and at times working together to produce a kind of beating oscillators effect (which - totally coincidentally - towards the end, becomes a kind of echo of the heartbeat sound used in the preceeding section (Kewe's part?) and - again totally coincidentally - managed to segue very nicely, tonally, into Fast Ghost's segment. There were no timelines involved and everything was performed real time in AUM.
Just looked up the patch notes I wrote at the time. This is for minutes 20-25 (roughly).
This is mostly a generative patch created in MiRack, but using its multi-outs so I could live mix using AUM’s faders, rather than using one of the internal mixers in MiRack. This patch creates the following:
All of the above being modulated by slow LFOs set to odd prime number clock divisions that continually phase to avoid direct repetitions.
The other two channels are instances of iDensity:
I snipped out my section from the film and played it in that AU video player, and mixed it live while watching the action.
Because my section was supposed to be just before Mike's, and he had finished before I even thought about it, I decided to try his methods. I first just let his piece play in a loop while I jammed along on my guitar, finding notes and chords that had similar feelings and intonations, I didn't actually get round to analysing it in any proper way, just finding common harmonies. I then loaded the video into ableton (I chopped out the section I was supposed to cover with a bit of handle either side) and with the guitar going through AUM on my ipad / ICA4+ combo with its many many plugins (a nembrini amp and too much reverb) played along with the video using both fingerpicking and ebow, letting it stack up a few takes. I then chopped these up, reversed some, deleted a few. I added a layer of synth rumbling using Nambu (a basic patch I tweaked to have a bit more of an unsettling feeling).
I then went on holiday.
On return, I had a day or so before getting sick with covid, and luckily decided to finish up asap. I basically just plugged my cheapo electric mandolin in, and played another few layers into the timeline. A bit more fiddling, probably not enough, and I thought I should just render it and hand it over to the maestro... in his wisdom, he moved it from where I'd supposed it owuld sit to much earlier in the film, which worked really nicely - I actually think it probably worked a bit better as I'd slipped into a bit of cliche during the running scene, and the bit where he splits into two, I'd tried to realise that sonically, but it hadn't worked as well as I'd imagined.
All is well that ends well
Ah! So that’s what you were whispering! Brilliant
@bygjohn : Yes! I used the AUV3 video player too, had my clip running inside AUM as I live mixed my bit to the movie. That is a very cool app.
@Svetlovska, I look forward to hearing your section. Could you please post an updated list of who’s doing what when? Thanks!
I don’t have that info. I think @Synthi swapped a few things round, and @Krupa had a spreadsheet. Maybe one of them can help…?
My section had one key piece of timing needed in the staking moment which needed a big shift in tone, so I also used the AUV3 video player. The heartbeat was built using Slate in NS2 adjusting the attack and decay on some orchestral drum hits and all the high end filtered out, a little extra bass was added with Model-D. I had one of @LinearLineman's piano motifs in SpaceCraft being controlled by mLFO, and the same with the flute piece (can't remember who made that) that was in the Dropbox right at the start. Then there were two instances of Loopy Pro each running paulXstretched versions of the flute and piano pieces - I'd made one set quite dark and foreboding, and another set much brighter so the two Loopys is to switch the mood after the staking. There was also a little bit of Egoist running yet another paulXStretched thing for some general texture, and Pipa for the slightly jubilant moment of the stake going in.
This was my first time doing anything ambient really so I rather enjoyed the challenge. The most time consuming part of the whole thing was trying to get the right emotions out of the motifs in SpaceCraft, keeping the piano recognisable as such in there but broken enough that it came out a little disturbing. I also got a bit lucky with the paulXstretched parts I think because as soon as I put them over the video of the coffin being carried next to the church, they sounded instantly very churchy - kinda organish, kinda big bellsy, slightly choral.
Caveat: this may be wrong, but I’ve gone on what @Synthi said in the chat, so it’s the original list, but with @Krupa ’s piece moved to where @iOSTRAKON ‘s would have been, and @LinearLineman ’s piece extended forward to where @Krupa ’s piece would have been originally. Finishes at about the right time!
@Stochastically : 0-5
@Svetlovska : 5-10
@Synthi : 10-15
@rottencat : 15-20
@bygjohn : 20-25
@sevenape : 25-30
@AlterEgo_UK : 30-35
@senhorlampada : 35-40
@Krupa : 40-45
@jwmmakerofmusic : 45-50
@LinearLineman : 50-60
@FastGhost : 60-65
@Gavinski : 65-70
@Kewe_Esse :70-75
Nice work @bygjohn 🙏
Spreadsheet is here if anyone wants it
https://docs.google.com/spreadsheets/d/1qLNPFn4dcA291lXT4wK77wHwbu57ipeOR0WbPywkUoA/edit
My bit was the final section, I used @LinearLineman’s creepy period film-noir motif, then improvised flute live over the top (recorded into Auria)… I arrogantly expected to knock that out in an afternoon or so but it took about a million takes over a few days to get something enjoyable to come out. He very kindly mixed a version of flute/piano accompaniment together that sounded great. I intended that for group use, but ended up using it as the main focus of my section in any case.
I created the ‘soundbed’ for my piece by converting my section of the video to gif in Alight Motion, then played the resulting file using PixiVisor, recording the output with AudioShare. I opened that file into Cubasis and stretched it to fit alongside the original video, which resulted in an audio file that to some extent changed along with the video, although it sounded, frankly, dreadful.
I messed about with that sound using Timeless and VoicePitcher to blur it out and lower the tone, a bit more tricky than I anticipated to actually keep the sense of video-mirroring but lose the horrible raspy pulse-tone that PixiVisor created. At some point I just decided enough was enough and layered the flute/piano mix over the top, at which point I was like, “sweet!”
The machinery sound effect was a rattly old factory conveyor belt (it was the raggediest, clunkiest machinery I could get near at the time I was working on this) sampled into AUM, and simply slowed down in tempo.
All the editing was finished in Cubasis, a lot of angsting about the placing of that machinery noise but I like to think it came out about right in the end.
Thoroughly enjoyed every moment of this process, it was great working with you all on this.
Indeed, what’s next?
This is only a rough guideline - for example I negotiated with the people either side of me on where exactly we'd transition
That machinery noise was great.
Very interesting to read people's workflows, I'll have a more careful read another time - plenty of great ideas.
About the next thing, I'm definitely down.
But who will take on the role of coordinator, which was basically a mix of Svetlovska and Krupa last time?
And @Synthi would you be up for mixing duties again if we do another vid, or would it be too much of a drain on your time?
Awesome reading about how you did your music!
Yes! Thats the final "order", thanks!
Yes, likewise.
My part comes from a edited long jam, using various synths in AUM (tal uno LX, Factory, maybe others I don't remember), Piano (my upright sampled in Audiolayer) and all processed in AUM. In some parts there is an electric bass that my girlfriend was playing from time to time, also processed, mixed and recorded in AUM as a single take. I made the edition partly in Auria and another part in the computer using studioone where I added or highlighted some effects in sync with the image
Very cool 😎. @Synthi would you be up for mixing duties again if we do another vid, or would it be too much of a drain on your time?