Gravity by Heavyocity

[jmobley]

hey thanks man. yup, it cam get very spendy.

The hate is pretty shocking. Lazy composers? I call bullshit on that one. Heaviocity products are geared towards a very specific group of composers. Composers that work in the cinematic genre. Pulses, builds, rises, impacts epic hybrid drums, etc are par for the course in the cinematic world. In trailer scoring, heaviocity products are basically required. It's not about being lazy. That sound is demanded. And as anyone in the scoring game knows, timed emotion and timed sound design is just as important as the music itself.

To the person who finds heaviocity products hard to mix in, turn the punish setting off.

But yeah, the price is very reasonable for people like us that are making music to picture. It's a downright bargain.

If you are doing music that's not geared to picture, the price can be hard to justify.

Cool site and nice credits.

Watching the tut videos on Gravity and DM-307 helped me to better understand the Heavyocity libraries I already have and how to tame them. I can get better use out of them now. I pulled the trigger on Gravity for the $80 discount and free expansion pack. Attempted the further discount by Tweeting on my long dormant Twitter account but it didn’t work. Whatevs.

My research on score music composing has shown it’s not a cheap endeavor on even the completely digital level. You could easily drop $300 - $500 on just a string library and you probably need several of those because each has their strengths and weaknesses. By comparison something like Omnisphere or Komplete could be more than most producers need for a lifetime of electronica productions without ever upgrading.

[jmobley]

I know what you mean. The problem is, producers expect A ton of music in a very short period of time. When I was working in LA on a scripted series, I had to write between 20-25 minutes of music a week. And I'm not talking the writing. Mixed, stemmed out, and ready to go. That's where Temp scores are the best and worst thing that's ever happened to tv and film. Sometimes, the workload is so intense, you litterally have to knock off the temp score in places to make your deadline. If you have a wife and kids, its a foregone conclusion.

Thus, products like damage, evolve, gravity etc etc speed up the process and allow you to actually have a life as well.

listen to the score for the first season of battlestar gallactica. The meat of the score are those drums. Bear has a live player that he scores for but! they are using his other drums as temp scores. And then, there's the song in the finale called "the shape of things to come" Absolutely brilliant. They basically captured lighting in a bottle on that one.

Also, certain companies are incredibly skilled when it comes to convincing you that you need their stuff. Like the Cinesamples Pro stuff (the video you posted is one I've drooled over previously). And forget about the absolutely INSANE amount of (specialised) libraries from Spitfire. It's easy to get distracted from writing actual music and melodies with all these niche libraries, and that's the way trailer and movie music are headed, I think. It's a lot more about sound than melody today. I guess it's unfair to compare anyone to John Williams, but the Jurassic Park score, man... That's a movie score (incidentally, my favourite score of all times, but I'm rambling now).

I keep wondering how long the "Heavyocity sound" will be in demand. I mean, all action movie trailers sound the same these days - partly also because the "Requiem for a Dream" syndrome, where they don't even bother going beyond the "temp music" stage. It's like musical stock photos, and it's a bit worrying, to be honest. Will there be work for composers when the soundtrack is mostly sound design and source music?

By the way, Josh: nice seeing you here. You used to be a Reason man, didn't you?

[beats me]

Like the Cinesamples Pro stuff (the video you posted is one I've drooled over previously). And forget about the absolutely INSANE amount of (specialised) libraries from Spitfire.

I have Spitfire's Albion 3 and Cinesample's Tina Guo Legato squarely in my crosshairs right now. I love cello because you can convey so much with just that.

I think a couple other reasons I want to fumble around with score type music is you can keep it short and you can keep building and aren’t expected to bring it back down. A lot of times I’m unhappy with a track just because I feel like it’s not long enough like everything needs to be at least 4 minutes plus. Also I tend to build things a lot and then can’t figure out how to bring it back down.

[Machinesworking]

Like the Cinesamples Pro stuff (the video you posted is one I've drooled over previously). And forget about the absolutely INSANE amount of (specialised) libraries from Spitfire.

I have Spitfire's Albion 3 and Cinesample's Tina Guo Legato squarely in my crosshairs right now. I love cello because you can convey so much with just that.

I think a couple other reasons I want to fumble around with score type music is you can keep it short and you can keep building and aren’t expected to bring it back down. A lot of times I’m unhappy with a track just because I feel like it’s not long enough like everything needs to be at least 4 minutes plus. Also I tend to build things a lot and then can’t figure out how to bring it back down.

Who cares what people expect, personally the focus on tension and release in dance music has made that "release" entirely predictable. I say don't let people off the hook, hang em out to dry and toy with them a bit.

Not discouraging you from doing cinematic stuff, film scores are a big reason I still like electronic music.

[sporkles]

Like the Cinesamples Pro stuff (the video you posted is one I've drooled over previously). And forget about the absolutely INSANE amount of (specialised) libraries from Spitfire.

I have Spitfire's Albion 3 and Cinesample's Tina Guo Legato squarely in my crosshairs right now. I love cello because you can convey so much with just that.

I think a couple other reasons I want to fumble around with score type music is you can keep it short and you can keep building and aren’t expected to bring it back down. A lot of times I’m unhappy with a track just because I feel like it’s not long enough like everything needs to be at least 4 minutes plus. Also I tend to build things a lot and then can’t figure out how to bring it back down.

I love cello too. Have a gander at Best Service's Emotional Cello - it sounds amazing (the price tag less so). And I hear ya on the soundtrack points. I've been thinking about ripping segments of movies I like and try to make alternative scores. I've had pretty bad experience with video in Live previously, though, so that's deterred me a bit (not as much as procrastination, though).

[beats me]

Like the Cinesamples Pro stuff (the video you posted is one I've drooled over previously). And forget about the absolutely INSANE amount of (specialised) libraries from Spitfire.

I have Spitfire's Albion 3 and Cinesample's Tina Guo Legato squarely in my crosshairs right now. I love cello because you can convey so much with just that.

I think a couple other reasons I want to fumble around with score type music is you can keep it short and you can keep building and aren’t expected to bring it back down. A lot of times I’m unhappy with a track just because I feel like it’s not long enough like everything needs to be at least 4 minutes plus. Also I tend to build things a lot and then can’t figure out how to bring it back down.

Who cares what people expect, personally the focus on tension and release in dance music has made that "release" entirely predictable. I say don't let people off the hook, hang em out to dry and toy with them a bit.

Not discouraging you from doing cinematic stuff, film scores are a big reason I still like electronic music.

Not discouraging. I’m saying it might be perfect for usual brick walls, a track that clocks in at 1:45 is good enough and so is bringing a track to a climax that then just fades out on the tales. No need to make it longer or attempt to bring it back down to mellow after epic and repeat.

Not saying that to marginalize producers who do scoring music, just saying I won’t have those voices nagging me to the point of me going “Fuck it, next song. I’m come back to this one later” (which I most likely won’t).