Is it possible to make instruments sound natural through audio editing like this?

[Ryan Elder]

Oh okay, thanks. I thought the tuba could be used for serious parts as well, if we do not go for the double bass. Well as far as the instrument not mattering as much, in this example track I gave him here:

György Ligeti ~ Musica Ricercata, II [Mesto, Rigido E Cerimoniale] - YouTube

Would the tone and feeling be changed around if you went with a guitar for example? I thought maybe guitar might make it sound too peaceful, unless maybe it wouldn't. The composer said a guitar would be too light and we need an instrument that is heavier for that kind of feel, if he is correct?

But I guess there are times when I feel the instrument matters or doesn't matter, and it depends. I decided to ask to the composer to use a cello instead of a harmonica instead, if that would be better.

[Brian Drysdale]

How the instrument is performed and the nature of the music is all part of creating a mood. You're regarding all this in a simplistic manner, a guitar doesn't have to be peaceful, but the feel would be different, Of course, it's what the composer makes of it.

Amazing Guitar Percussion - YouTube

Ben Lacy - guitar percussion - YouTube

[Ryan Elder]

Yeah that's true. But I guess the reasons why a lot of musical pieces of several different instruments is because they still prefer certain instrument sounds, so it's good to pick based on sound as well, after you have picked the tone, and feeling or no?

One I do have trouble picking with is a double bass or a bass guitar, for pizzacato style. They sound very much alike, so it's hard to pick for example, but the composer says it's my choice.

[Brian Drysdale]

Your composer doesn't sound that strong a character or he just can't be bothered arguing with you.

[Paul R Johnson]

You repeatedly try to control every single thing in your movies that you have no skills in. You like certain instruments. No, you don’t. You like a particular playing style you have heard, played on that instrument. Part of what I do is copying certain songs. Most times you say flute, clarinet, fretless bass, but often you hear the sound but cannot identify it. I recreate what I hear but frequently discover a note my instrument cannot play, so it could not for instance have been a violin, it must have been a viola. As a non-musician your input is interference and not helpful. Why tie your composers hands behind his back and force him into narrow corridors with no escape. A total mismatch of tones that will be hell to squeeze in. Like the old script writers exasperation trick when fed up with unwanted input, where they put in words at random. Their close friends bet them they cannot get “conjugate” in the script somewhere without the director getting the joke. Sometimes the words progressively get sillier with each rewrite.

Logic, by the way is fine, and he has all these sounds, so leave the man alone, or get a soundtrack designed by committee.

Your total randomness in picking instruments before it’s time just shows how little you understand music. You have also started to use the term “we” not “he” which shows you believe you are a co-composer, and you are not.

[Ryan Elder]

Originally Posted by Paul R Johnson

You repeatedly try to control every single thing in your movies that you have no skills in. You like certain instruments. No, you don’t. You like a particular playing style you have heard, played on that instrument. Part of what I do is copying certain songs. Most times you say flute, clarinet, fretless bass, but often you hear the sound but cannot identify it. I recreate what I hear but frequently discover a note my instrument cannot play, so it could not for instance have been a violin, it must have been a viola. As a non-musician your input is interference and not helpful. Why tie your composers hands behind his back and force him into narrow corridors with no escape. A total mismatch of tones that will be hell to squeeze in. Like the old script writers exasperation trick when fed up with unwanted input, where they put in words at random. Their close friends bet them they cannot get “conjugate” in the script somewhere without the director getting the joke. Sometimes the words progressively get sillier with each rewrite.

Logic, by the way is fine, and he has all these sounds, so leave the man alone, or get a soundtrack designed by committee.

Your total randomness in picking instruments before it’s time just shows how little you understand music. You have also started to use the term “we” not “he” which shows you believe you are a co-composer, and you are not.

Yeah I know I like the instrument in particular playing styles. But I don't tell the composer use this instrument. I will show the composer an example track of what I want, and ask him what that instrument is particular, and he will tell me and I will tell him I would that, but played in a similar style of course, like in the example. Or if he suggests something better, and shows me, great. I always ask him what the instruments I like played in the style first though.

But is that bad of me?

[Brian Drysdale]

It still too early for this type of detail, what you think you need now may prove to be redundant in the final film. The composer may have to create emotions and moods which you, your actors and DP have failed to capture. That's what music is commonly used for and it's extremely unlikely that you will know what will be required in advance. .

[Paul R Johnson]

But is that bad of me?

Probably.

You change your tune more than the musicians.

[Ryan Elder]

Well it's just that in the past, when I just told composers to do their things and I left them alone without collaborating more, the music wasn't what I wanted much at all, so I thought I should collaborate more and be more specific, if that would help.

Originally Posted by Brian Drysdale

It still too early for this type of detail, what you think you need now may prove to be redundant in the final film. The composer may have to create emotions and moods which you, your actors and DP have failed to capture. That's what music is commonly used for and it's extremely unlikely that you will know what will be required in advance. .

Oh okay. But even if the actors are expressing different emotions, I am still shooting in a way, with the music in mind though. The camera could still be moving with that music in mind while shooting, and the shot choices are still done with the music in mind, as well as the cinematography and production desgin. So is it worth changing the music later if the actors are acting differently, if everything else was set up for that specific music during shooting?

[Brian Drysdale]

You can try that, but you'll be in such a scramble to get the shots that, chances are, any musical co-ordination with the camera will disappear once the reality kicks in.

There's a reason why almost all films have the music composed when the film has been mostly edited to a final picture lock.

[Ryan Elder]

Oh okay. I just thought would help the style of the shooting if I knew roughly what kind of music I was shooting too for the final edit, roughly.

[Josh Bass]

I’ll be honest, there are many things Ryan believes (misguidedly) that I can say “Yeah, I could see why he would think that, it almost makes sense, if you didnt know better,” but this one is beyond me.

[Pete Cofrancesco]

There is an wall surrounding Ryan that no amount of reasoning can penetrate. Always reminds me of the scene from This is Spinal Tap, where Nigel ignores what Rob Reiner says and looks blankly back "... but these go to 11".

To an outside observer, reading your post for two years, it's clear that this movie mainly serves as vehicle for you do whatever you want. Unfortunately, indulging your every whim and ignoring the standardized practices of movie production will lead you no where.

[Ryan Elder]

Oh okay, I wanted to get as much done as I can now with covid, but I can do more of it after, if that's best, with the composer.

[Pete Cofrancesco]

Originally Posted by Ryan Elder

Oh okay, I wanted to get as much done as I can now with covid, but I can do more of it after, if that's best, with the composer.

You sound like a jumble mess, copying ideas from films, second guessing yourself and others you work with, planning to death everything, doing things out of order...

Maybe you should go out into the wilderness for as long as it takes to discover who you are and what's your purpose in life. Without an inner calm, confidence, and purpose you're doomed to this chaotic storm you seem to always caught up in.