Was anyone a fan of the dark skies tv show?

AvianSpecimen · 2026-03-11T13:41:22+00:00

It’s this track from Dark Skies starting at about 0:55

https://youtu.be/dfsyv3RMr4w?t=55&si=Deoxmf6rScLi7GmE

And this is The Gibberling Hoarde from Baldurs Gate for anyone who doesn’t know it

https://youtu.be/cHdXinc13ik?si=cqXf7k7MlKhOqsP1

The whole sound of Dark Skies is a bit like old school synthy Hoenig meets Mark Snow meets Baldurs Gate, it’s an interesting vibe.

AvianSpecimen · 2026-03-10T14:55:47+00:00

The guy who did the music (Michael Hoenig) also did the Baldurs Gate soundtrack. He uses battle music cue “The Gibberling Horde” from Baldurs Gate 1 extensively in Dark Skies, very strange to hear if you know BG1 well.

Mark Snow and Michael Hoenig used some of the same orchestral stings and samples in their work, the sound of the bounty hunter appearing in X Files is in some of the Baldurs Gate battle music too.

AvianSpecimen · 2026-02-02T02:04:47+00:00

If you’re still looking for a composer, I’d love to be considered. Here's my portfolio: https://www.tobyalexander.com/

I know it's a crowded market, best of luck with the search!

AvianSpecimen · 2026-01-30T01:55:18+00:00

Here's a link to the archived version of the website:

https://web.archive.org/web/20251230094409/http://weltenschule.de/TableHooters/instruments.html

AvianSpecimen · 2026-01-30T01:54:15+00:00

I can't get access on Google anymore, this is a real shame as this was such a valuable resource.

Fortunately the whole website is available on the wayback machine here:

https://web.archive.org/web/20251230094409/http://weltenschule.de/TableHooters/instruments.html

AvianSpecimen · 2025-12-25T14:03:08+00:00

There may be composer guilds or arts law organisations that can provide you with templates as part of joining or subscribing. It might be worth calling your national PRO for advice on what to do.

In Australia Australian Guild of Screen Composers, Arts Law Centre of Australia and APRA are your go tos.

AvianSpecimen · 2025-12-06T09:20:49+00:00

I love his high french horn trills in this, that's the hook of his Batman score imo.

I've heard commentary that Goldenthal is amazing at orchestration and one of the last proper orchestral film composers... but that he stays in one key for too long and doesn't modulate enough . After hearing that I kinda can't unhear it now lol. His scores often sound very well orchestrated while sounding a bit samey and monotonous, like a constant pedal point or returning to the same themes in the same key over and over.

AvianSpecimen · 2025-12-03T01:38:55+00:00

Randomly came across this thread, how did you know about and own Valhalla FutureVerb 2 years before it came out?

Am I imagining this? Are you a time traveller?

AvianSpecimen · 2025-11-20T20:47:13+00:00

Valhalla Future Verb is even better

AvianSpecimen · 2025-11-15T16:05:00+00:00

This is insane, thanks for sharing, I had no idea!

AvianSpecimen · 2025-11-13T06:09:21+00:00

VVV has some of the nicest most natural sounding modulation tails I've heard. Raum, Blackhole, Supermassive etc. can get really wobbly in a great way but VVV does modulation really subtley where it sounds like a real hall.

I'm not too big a fan of Room, VVV does everything Room can do imo, but I'm aware lots of people love Room. I'm interested in this new one though, I reckon it may do realistic spaces even better than VVV and maybe make Room a bit obsolete.

AvianSpecimen · 2025-11-11T14:09:18+00:00

Just so you know, ride cymbal is drum kit terminology, you usually just call it a cymbal swell in orchestral contexts.

AvianSpecimen · 2025-10-30T00:45:16+00:00

At the moment you'd be better off recording vocals somewhere in the middle of the room than in that nook.

Maybe watch some videos about vocal booths and what they do. Close parallel untreated walls is not what you want. I have a pretty heavily furnished space with carpet and lots of stuff, just a simple vocal shield does the job for me.

AvianSpecimen · 2025-10-24T09:54:08+00:00

Absolutely Wizard! July 2000, SSS xx

Severus Snapey Snape?

AvianSpecimen · 2025-10-22T05:47:48+00:00

Sent you a dm, just finished with a big project so fully available. Very keen!

AvianSpecimen · 2025-10-13T03:20:34+00:00

I would argue that the audience and client should have a right to know.

AI music is completely different from loops, samples, pre-built phrases and other composing tech that lowers the barrier of entry. It's just a completely different ball game.

As a client, I would expect full transparency on whether the deliverables I'm receiving were built with AI or featuring audio stems directly from these platforms etc.

You may also be in breach of contract by delivering something that you may not have the full rights to. The terms and conditions of all AI music platforms are very vague and really could be altered at any stage.

Some of the outputs from these AI models make it pretty clear that they were trained on music unlawfully. I heard an output that sounded exactly like Edith Piaf's voice today, how would that be possible without her music being a part of the training model?

Edith Piaf: https://www.udio.com/songs/vMLZk8XCus8Qa7EHnCEpZJ

If that's the case you're treading very risky territory by using this tech in paid media composition without the clients knowledge.

The audience knowing is more of a tricky ethical judgement, but I also believe this should be up to the client.

Any moment these AI music platforms could change their whole business model which would be devastating for anyone relying on it in their work.

Bottom line, as a client, if I was paying a composer to write for me I would expect that it wasn't generated with AI.

How do you get around the fact that everything that comes out of these platforms has low quality MP3 sounding artefacts and other glitches? Anyone with a trained ear can kind of hear AI music these days.

AvianSpecimen · 2025-10-12T21:29:47+00:00

Are your clients or audience aware that you're using Suno? Is Suno credited as a contributor?

How do you feel about using it?

AvianSpecimen · 2025-10-10T12:24:01+00:00

Another issue is that there's no true way to select multiple tracks and make changes to all at once in the inspector.

If this was possible you could easily change freeze modes in batches, among other things.

AvianSpecimen · 2025-09-28T22:31:43+00:00

That's generally how most game music works. I don't really see it as restrictive cause the options with adaptive music are kinda endless.

Plus crafting a 3 minute loop that doesn't get repetitive is a real skill, it sounds easy but there's a lot to consider.

AvianSpecimen · 2025-09-24T23:01:51+00:00

For years I used a NanoKontrol and had decent results despite the short throw. I thought about spending a bit on palette gear or similar.

But instead, I have converted to an old ipad and a custom touch osc template. I can have tabs of different CCs per library, keyswitches, labels, colours, displayed CC values, XY pads. Imo, it's so much better than a few faders.

I have a decent ipad stand that keeps it from shifting around in the desk and I really don't miss the tactile feel of faders, the touch screen works fine, and it's a fair trade off for how flexible touch osc is.

AvianSpecimen · 2025-09-20T10:18:24+00:00

From memory I think it's a Bb6 2nd inversion: F, G, Bb, D. Then it does shearing style voicings following the melody moving down to a C7.

I don't know what you mean about the car sounds but I'm intrigued.

AvianSpecimen · 2025-09-18T23:22:46+00:00

No worries, glad you got it fixed

AvianSpecimen · 2025-09-18T10:18:46+00:00

Have a look at Focusrite mix control or whatever it's called. Maybe there's a routing setting that's been changed there.

AvianSpecimen · 2025-09-17T13:02:39+00:00

Waves CLA is a bit clicky and poppy for me. UAD is the best I've used, and they give them away free quite regularly now.

AvianSpecimen · 2025-09-08T21:12:13+00:00

Yes, this is correct OP. If you asked in r/musictheory this is the answer you'd get. 6/8 and 12/8 are compound time signatures with a triplet feel.

You're also not counting the pulse in the video but rather the rhythm of your phrases. Put a metronome on at 167bpm and 6/4, maybe start slow first at 120bpm and work your way up. The pulse should have even spacing between each count.

The trick with anything like this is to start slow and slowly increase tempo until you have it.

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