Here are the first 40 seconds from a Fuga I wrote:
http://www.4shared.com/file/107046668/8ade20c7/Fuga_in_Dm.html(It makes use of Baroque counterpoint and a harpsichord, so it's going to sound dated by about 4-500 years.
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I'm demonstrating that it shouldn't take the listener 15 minutes of listening before they hear something interesting. If you're only going to give us 40 seconds, then it should be the most mind-melting espionage-sneaking bond-women seducing thing you can come up with.
Here is some constructive criticism and suggestions:
- Learn about musical forms (wikipedia can be very helpful.)
- Write music through those forms.
- Study and analyze music; why it sounds the way it does - what makes it "work."
- Put tons of time into pieces that no one's going to hear - because when the time comes for someone to really listen, you'll be confident in what you do.
- Expensive soundfonts and programs don't make a good composer, time behind the music does, and a love for the craft - for the pure sake of doing it, not just so that people can listen.
- I think that the reason behind the consistency of the simplicity and repetitive nature of the music presented here lies within a combination of a lack on knowledge and experience.
- I'm really not trying to be mean, but realistic; as I understand it, music is a hobby for you, something you've always done on the side. Although you have learned much about programs and sounds from fiddling around - fiddling will only get you so far.
- Just because you want to try out for this team, or work with them - no matter how badly, doesn't mean that it will happen. I would absolutely love to work on the music with Audix and bass, however, my classical style isn't the direction that they're going with, and so, it's not going to happen. (I have a feeling that if I had EWQL and a registered version of FL Studio, I'd have a much better opportunity. *sigh*)
- I tell you all this from one musician to another, to save you time and energy, and to put things in focus for you.
Bottom Line:
I think that your fancy equipment exceeds your knowledge and experience in the craft of music composition, and you need more time and understanding before you market yourself.
This is just my opinion though, and as Audix does most definitely have the final word.
@ CCsaint10 - It's very hard to make soundfonts sound realistic. The brass sounds nice because it's all in unison, and you can't here the blend of the timbre that you would hear otherwise if properly orchestrated. The brass also sounds nice because you're only hearing "punches" which are short, if they were sustained or driven through fast passages, it would sound mechanical. Similar issues occur with woodwinds - mechanical and nasily. Through fast passages for stringed instruments, the notes tend to "smoosh" together and can come across as a glissando.
Although impressive, the biggest issue with soundfonts (no matter how expensive) is that they're not real people.
