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Hit me with critical. http://www.youtube.com/watch?v=8rO8BrDJbL8&context=C3b05fd2ADOEgsToPDskKQtOpX1iUCRYr3CGmsQswg

It was weird using xylophone, it had such an overwhelming amount of sound around 300Hz. The most interesting noise is the "tinkely sound" for the snake: that was tapping bricks covered in broken champagne flutes with tiny spanners.

I went into it trying to do this again: http://www.youtube.com/watch?v=YRRn73dTItM but to have more long form musicality in the samples, and for them to be more reflective of what was on screen, which was really made it difficult to have the repetition of sources that I think this sort of thing might need to have.

cheers for your time.

  • also, if i did this again I think I'd go ahead and actually write melodies, or at least choose a key to be in. As it was it was all impro, imagine a drummer just pretending a piano is a weird looking drumkit. That was part of the challenge... but I eneded up with around 100 takes of music I couldn't use! – reon Jan 22 '12 at 3:22
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I would say to try and focus on separate yet universally concurrent design for smaller individual moments. Seemed a bit too busy and as if painted with "too large a brush" try smaller more tighter "brush strokes". That would be my approach.

Very cool none the less!

art is art right?

  • just the sort of answer I was hoping for. I'm not sure what "separate yet universally concurrent design" means? – reon Jan 23 '12 at 3:41
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    By that I mean like, by treating minute moments differently while keeping some sort of a universal sound "theme" or feel. Hope that helps! – Matt R. Sherman Jan 23 '12 at 4:04

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