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Kunal Majmudar's Blog
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Sep 26

Theme Continuity in Game Audio: An Open Plea

Published in Untagged  by Kunal Majmudar | Comment (0)
The idea of motif and theme continuity is an important one. Much like a writer, thematic phrases allow composers to build and tell a story. However, as George “The Fatman” Sanger describes in Tasty Morsels of Sonic Goodness, one of the mistaken assumptions for the intermediate-level composer is “I should repeat my musical themes in order to emphasize them, just as I learned in composition class.” The thought is that repetition and reiteration of themes can be grating on the listener (to say the least). I mean, how many times can you listen to the same melody over and over again before you just mute the game and listen to your MP3’s? It happens quite a lot—and, in my humble opinion, mostly in the video game industry.

But fear not! I’m going to suggest taking a different approach to thematic writing in your soundtrack. Normally composers consider melodies to be themes as melodies are the most obvious channels for communicating the theme. But if you think about it, melody is only one of several components to a composition, right? What about harmonic intervals? Rhythm? Instrumentation? Register? If you really think about it, there are a LOT of puzzle pieces to a composition. So naturally, that means that all of these ‘puzzle pieces’ are part of your theme.

You can use any one of these elements to reiterate and develop themes. Take a look at this demo piece that I put together to show this. Notice how the melody drops out in the second part of the piece, but you can still feel continuity between the first and the second parts. This is because I am reiterating the theme in a variety of alternative ways…mainly rhythmically and harmonically.
 
So, fellow video game composer, I implore you. Don’t make me sit through hours of gameplay where I listen to the same theme every time I see the bad guy. Switch it up and make the score an interesting, organic tapestry of storytelling!
May 22

LA Scoring Strings Review

Published in Untagged  by Kunal Majmudar | Comment (0)

Check out my full review here (with video): http://bit.ly/mz4JNM

Jan 26

Why You Shouldn't Hoard VST's and Plugins

Published in vstirecordingMusicAudioarticle by Kunal Majmudar | Comment (3)

Most self-respecting video game/film/tv composers love to buy new equipment. Whether it's a new keyboard, compressor, or a hot, new VST, each new purchase induces a certain weakness of knees followed by inexorable, euphoric joy (I believe the technical term is "child in a candy shop syndrome"). It's very easy to hoard new equipment--and I have been guilty of doing this in the past. I however came to the conclusion a few years back, that in many cases 'more' was actually 'less'--especially with VST's and plugins.


It seems a bit counter-intuitive, doesn't it? Why not purchase every single plugin that Waves makes? Why not download every single Native Instruments product? There might be a time when you need them all.

And technically it's true. There might a time when you need to utilize that one sound from a VST that you've never used before. But I contend that it's healthier to have a manageable VST/Plugin set that grows only on an as-needed basis. Why? Here are my top 5 reasons:

1) KNOW YOUR PALETTE. It's important for a painter to know what his tools are before painting a masterpiece. The same goes for music composers. By keeping your library slim and only purchasing what you need when you need it, you will be able to understand your palette much more intimately. If you buy in bundles or groups, it's difficult and time-consuming to get to know each sound deeply.

2) CREATE A SIGNATURE SOUND. As a composer it's important to have a signature sound. This sound differentiates you from others in your field and helps you grow a fan base. If you continually use different VST's in each composition, it's more likely than not that your sound will never truly emerge. Instead, most successful composers use a core set of VST's and plugins with which they are comfortable. Any new VST's/VSTi elements that are added are chosen and added carefully.

3) EXPERIMENT WITH WHAT YOU ALREADY HAVE. Many composers keep buying VST's to get the most 'realistic' sound possible. While I understand the sentiment, I don't buy into it. The most 'realistic' sound is always going to come from live musicians, not from VST's and VSTi's. Really, you should know your existing sounds well enough that you understand their strengths and weaknesses--and understand how to augment each patch so it sounds the way you need it to. This might mean adding insert effects. Or maybe tweaking synth parameters. Or even layering the patch with another sound. The point is that you may already have what you need at your fingertips without hitting that 'add to cart' button.

4) STAY ORGANIZED. Organization is a big issue for composers. As self-starters that manage our own deliverable timetables, we have to be able to keep on task while juggling multiple projects at any given time. By keeping to a smaller, thinner VST and Plugin library, you have quick and efficient access to the sound you need at any given time. A larger, more unwieldy library can take a bit of navigating before finding that perfect patch for your piece--especially if you don't know your sounds well.

5) LOGISTICS. Obviously cost and memory are logistical issues that need to be taken into account here. While I'm certainly not advising you how to spend your hard-earned dollars, I challenge you to approach each new purchase as a cost-benefit equation. Do you really need that Gamelan VST or will the one from your Yamaha Motif do the trick? You might be surprised at how much money you can save by cutting out non-essential purchases.

So there you have it.

Now I want to make clear that there are certainly times where buying in small bundles or packs makes absolute sense. But, in my opinion, these are usually smaller products like NI's "Evolve Mutations 1 & 2". I certainly wouldn't buy something like NI's "Kore" off the bat, but I would consider a cross-grade after I've gotten to know some of the sound sets through one-off purchases. For me, approaching VST/plugin purchases in this way allows me to stay organized, productive, and creative!
Dec 12

Concert Harp VSTi Review

Published in vstireviewAudio by Kunal Majmudar | Comment (2)

So I've been using Concert Harp by ProjectSAM for a few months now. It's been an absolute blast to use--rich samples, close & ambient mic settings, multi-layered triggers, and keyswitches alone should warrant this purchase!

I've not yet been disappointed with any of ProjectSAM's products. I say this about few companies at all, but ProjectSAM has put out really innovative products in the past few years. It's one of the few companies that continues to put out VST's and VSTi's with no compromise in quality.

As a music composer, I find that the Concert Harp is useful both when blending with other, orchestral ensembles or in a standalone, solo harp piece.

Check out my video review on it:

 [video:http://www.youtube.com/watch?v=PN-gjm83jgU 640x385]

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