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“Dark Passage”

McDMcD
edited July 2023 in Creations & Collaborations

Synths:
2 VividShapers
1 Tomofon
1 Speldosa
1 Roli Noise

Audio FX:
Binaural Locator (I covet 3D FX and this helps scratch that itch for IOS)
AltiSpace 2
Stereo Delay (1)
EOS 2 Reverb (Valhalla Designer on IOS)

MIDI FX:
2 Riffers (still my king of “roll the die” generators)

C Diminshed contains paranoia, tension and release, vertigo and ambiguity because it’s also Eb, F# and A diminshed… just select a root in Riffler and you’re there and I hope you can get out.

Comments

  • PxlhgPxlhg

    Cinematic, ominous were words that came to mind when listening, nice! Btw, don't you mean Riffer (Audiomodern)? Riffler is the guitar generator/ai (it would work too so maybe I'm the one wrong(?))

  • McDMcD
    edited July 2023

    @Pxlhg said:
    Cinematic, ominous were words that came to mind when listening, nice! Btw, don't you mean Riffer (Audiomodern)? Riffler is the guitar generator/ai (it would work too so maybe I'm the one wrong(?))

    Oops. I do mean Riffer! It’s alway providing useful results. I run 2 or more instances and dial-in a bass part and a melodic upper part at a minimum. In this case I added some keyboard chord work.

    I’ll edit the lead Post.

    Thanks for the feedback and heads up.

  • jo92346jo92346

    sounds just great

  • bygjohnbygjohn

    Definitely cinematic. And Speldosa can be remarkably creepy in the right context, as here.

    I’ve not tried Binaural Location, but it’s now on my list. The spatial design here is superb.

  • LuxthorLuxthor

    @McD said:
    Synths:
    2 VividShapers
    1 Tomofon
    1 Speldosa
    1 Roli Noise

    Audio FX:
    Binaural Locator (I covet 3D FX and this helps scratch that itch for IOS)
    AltiSpace 2
    Stereo Delay (1)
    EOS 2 Reverb (Valhalla Designer on IOS)

    MIDI FX:
    2 Riffers (still my king of “roll the die” generators)

    C Diminshed contains paranoia, tension and release, vertigo and ambiguity because it’s also Eb, F# and A diminshed… just select a root in Riffler and you’re there and I hope you can get out.

    That moment before the big storm, you are on the horizon without any direction and way to escape. Would you stay and admire the magnificence of the dark clouds devouring the last pieces of the daylight or just run away hoping for the best. That's the feeling I got listening to ‘Dark Passage’, wonderful, thanks for sharing! 🤩

  • McDMcD

    @jo92346 said:
    sounds just great

    Thanks. Nothing close to your epic creations but my approach is to just build things in AUM on the sofa while the cat turns on the piano to get my attention for his next meal.

    @bygjohn said:
    Definitely cinematic. And Speldosa can be remarkably creepy in the right context, as here.

    I’ve not tried Binaural Location, but it’s now on my list. The spatial design here is superb.

    It’s like panning with that addition dimension of depth. The stereo focus points travel in elliptical orbits around two poles and you can vary the rate if the orbit. It adds more space to the results. With two instances I varied the rates for more complexity in the results.

    @Luxthor said:

    That moment before the big storm, you are on the horizon without any direction and way to escape. Would you stay and admire the magnificence of the dark clouds devouring the last pieces of the daylight or just run away hoping for the best. That's the feeling I got listening to ‘Dark Passage’, wonderful, thanks for sharing! 🤩

    Thanks for creating the screen play to match the score. You shoot, I score.

  • SvetlovskaSvetlovska

    Or you could always consider it a new soundtrack for this…

    “ Vincent Parry (Humphrey Bogart) has just escaped from prison after being locked up for a crime he did not commit -- murdering his wife. On the outside, Vincent finds that his face is betraying him, literally, so he finds a plastic surgery to give him new features. After getting a ride out of town from a stranger, Vincent crosses paths with a young woman (Lauren Bacall) who lets him stay in her apartment while he heals and continues to try and clear his name.”

    It would definitely work! Excellent slice of the deepest black, with a very orchestral/soundtrack vibe.

  • McDMcD
    edited July 2023

    @Svetlovska said:
    Or you could always consider it a new soundtrack for this…

    “ Vincent Parry (Humphrey Bogart) has just escaped from prison after being locked up for a crime he did not commit -- murdering his wife. On the outside, Vincent finds that his face is betraying him, literally, so he finds a plastic surgery to give him new features. After getting a ride out of town from a stranger, Vincent crosses paths with a young woman (Lauren Bacall) who lets him stay in her apartment while he heals and continues to try and clear his name.”

    It would definitely work! Excellent slice of the deepest black, with a very orchestral/soundtrack vibe.

    Those Noir films usually had great film scores to set the mood. Bogie and Bacall… my subconscious hit pay dirt with this title but I’d never claim the honor of a classic Hollywood score from the Alfred Newman era (Randy’s Uncle as I recall).
    This movie’s score came from Franz Waxman:

    Franz Waxman (Wachsmann) pursued his dream of a career in music despite his family's misgivings. He worked for several years as a bank teller and paid for piano, harmony and composition lessons with his salary. He later moved to Berlin, where he continued his study and progress as a musician. He was able to support himself by playing and arranging for a popular German jazz band, Weintraub Syncopaters, in the late 1920s. Friedrich Hollaender, who had written some music for the Weintraubs, gave Waxman his first chance to move into movie scoring by hiring him to orchestrate and conduct Hollander's score (an arrangement of Wolfgang Amadeus Mozart) for the film that launched Marlene Dietrich, The Blue Angel (1930), directed by Josef von Sternberg. During 1932 Waxman, a Jew, joined many other Jews leaving Germany as the Nazi vise closed irrevocably on free society. He continued working with Germanfilm makers in France. Waxman did musical arranging and co-scoring, usually with Allan Gray, for approximately 15 European movies (his first independent score was in 1932). "The Blue Angel" producer Erich Pommer liked Waxman's work and offered him the composing job for Liliom (1934), directed by Fritz Lang in France.

    Pommer decided to do Music in the Air (1934), a Jerome Kern musical, which meant going to Hollywood. Waxman was asked to come along to do the arranging. Needing no further reason to remain in Europe as the Nazi clouds darkened over it, Waxman began a new chapter in Hollywood film music history. He fortunately had some spare time to study with 'Arnold Schoenberg' after coming to Los Angeles, but he was soon talking to another new arrival, English director James Whale, about scoring The Bride of Frankenstein (1935) for Universal. Waxman gave Whale what he wanted--an unusual score to fit the quirky, somewhat over-the-top content of the film (in fact, some of this score was later used in other films). As Waxman worked for Universal through the 1930s, he found himself in assembly-line mode, sometimes sharing scoring credit, and doing a lot of arranging stock music, which was usually used for the studio's many serials. This cranked up Waxman's yearly film output to around 20 or so through 1940.

    By 1940, however, he was composing original music scores for other studios, beginning with the romantic music for Selznick Studios' Rebecca (1940)--the first Hollywood film for Alfred Hitchcock--and whimsical fare for MGM's The Philadelphia Story (1940). In 1941 he was doing more work for MGM with Honky Tonk (1941) and his second Hitchcock score, Suspicion (1941) from RKO. By 1943 and for the rest of the decade Waxman was usually scoring for Warner Bros., starting with Destination Tokyo (1943) and including music for some of that studio's classics of the period, such as To Have and Have Not (1944) with Humphrey Bogart. Through the decade he was nominated for an Oscar seven times for Best Film Score.

    Waxman moved on to Paramount through the first half of the 1950s and garnered his two Oscars in back--to-back wins for Sunset Blvd. (1950) and A Place in the Sun (1951). This recognition finally underscored what was at the heart of all of Waxman's music: seriously focused attention on relaying a film's story through the content of the music. He would continue his scoring work for several studios into the 1960s, with three more nominations. Some of his music in the 1950s was recycled from his previous scores, as in the case of his third assignment for Hitchcock, Rear Window (1954) which contained used music. Waxman was also active in contemporary classical music. In 1947 he founded the Los Angeles International Music Festival and, as Music Director and Conductor, brought the premieres of works by world renowned contemporary composers to the Los Angeles cultural scene. Among his own output of such music was his popular "Carmen Fantasy" for violin and orchestra. Waxman also composed for TV's Gunsmoke (1955), The Fugitive (1963), Peyton Place (1964) (he had composed the music for the film the series was based on, Peyton Place (1957)) and others. Waxman died relatively young, but because of his steady output, only fellow emigrant Max Steiner (who was nearly 20 years older and whose output entailed more than 200 arrangements of stock music, rather than original scores) was a more prolific early Hollywood composer.

  • AlterEgo_UKAlterEgo_UK

    Brilliant arrangement - very creepy and suspenseful! I like it!

  • JanKunJanKun
    edited July 2023

    Wow, @McD ! So cinematic, loving this! A piece for an unreleased movie! The Octotonic rules !

  • McDMcD

    @JanKun said:
    Wow, @McD ! So cinematic, living this! A piece for an unreleased movie! The Octotonic rules !

    Thanks… I’ve seen how you labor over your scores in StaffPad so I’m getting that Imposter Syndrome feeling… I fight it off by telling myself that I have just optimized the art of being lazy. I’m sticking to it and will ask ChatGPT to write my best-selling Self-Help book. When I get a spare moment from posting here. (Googles “how to prompt ChatGPT for a book that can pass an editor and legal review for authorship and not be riddled with inaccuracies”… see Sarah Silverman).

  • JanKunJanKun
    edited July 2023

    @McD said:

    @JanKun said:
    Wow, @McD ! So cinematic, living this! A piece for an unreleased movie! The Octotonic rules !

    Thanks… I’ve seen how you labor over your scores in StaffPad so I’m getting that Imposter Syndrome feeling… I fight it off by telling myself that I have just optimized the art of being lazy. I’m sticking to it and will ask ChatGPT to write my best-selling Self-Help book. When I get a spare moment from posting here. (Googles “how to prompt ChatGPT for a book that can pass an editor and legal review for authorship and not be riddled with inaccuracies”… see Sarah Silverman).

    I don't struggle with my scores. I am actually having fun and stop when I get bored. Imposter? Why ? Only the result counts. If a piece sounds great and is evocative, who cares if you spent 2 hours or 20+ on it ?

  • PaulieworldPaulieworld

    Dittos to all the above. Excellent!

  • LuxthorLuxthor

    @McD said:

    @Luxthor said:

    That moment before the big storm, you are on the horizon without any direction and way to escape. Would you stay and admire the magnificence of the dark clouds devouring the last pieces of the daylight or just run away hoping for the best. That's the feeling I got listening to ‘Dark Passage’, wonderful, thanks for sharing! 🤩

    Thanks for creating the screen play to match the score. You shoot, I score.

    Who knows how Midjourney will visually interpret that scene description?! But one thing is for sure, AI will never be able to express true feelings and experience listening to music. 🤔

  • GeoTonyGeoTony

    Can I ditto Pauls ditto?

  • McDMcD

    @GeoTony said:
    Can I ditto Pauls ditto?

    You can make Xerox copies of Paul’s ditto and pass them out on the street. Congrats on SoundCloud pushing your work out… you deserve the extra listens.

  • GeoTonyGeoTony

    If they’re real people and real plays I’m happy, if they’re bits of (in) silicon sniggering at their little AI jokes ☹️

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