My entry for Westworld/Spitfire audio compeition

Hi, here is my entry for Westworld/Spitfire audio competition. Tonality - B min, tempo 144. I the main theme is played by piano then picked up by low strings and the variation is played by piz strings. I used lots of blending of orchestral sounds and electronic pads. All are Spitfire Audio libraries. I also wrote drums myself, using 4/4 and triplets, which created an interesting effect.

You can here it here

thanks for watching and listening


Really liked it! Especially the fact that on the explosion you stop the music and let the scene speak for itself. Very powerful!

Hi Julia.
I must start saying that everyone’s composition for a movie scene is right in itself,

because is what you would like to hear for that images.
So, sounds are great, the score has got sense and it evolves in some manner,

introducin different instruments and phrases related with different events or

characters that happen in the scene. Your composition is good and it is nice to hear.
Having said that, in a constructive attitude, I would like to tell you some elements

that make me disagree with your option for this score.

  • It is imperative to take care about not step over the dialogs.
  • The music must stay in the background, only gaining presence when there is room for


  • Beeing a chasing scene, I feel that I need a bigger intensity and maybe a faster


  • Around minute 3:00 there is a too long almonst silenced music background, when we

are on one of the most emotive moments of the scene.

It’s only my opinion
Anyway, To finish a composition for video content, with a good job of analysing and timing it all is something to be praised for.



This is what good constructive feedback is all about, much appreciated Vicente. Too many composers sadly go with the “pat on the back” approach, which is not feedback. And of course, all feedback is simply suggestions, but that goes without saying :slight_smile:

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Thanks Mike.
I think that feedback is essential, not only in a technical way, also to know others expectations.
When you create, you satisfy what you need, to feel a theme completed and right. But in a professional context, it is not about your needs, so there is a huge war of your own language and personality as a creator, versus what clients and user spect. And I realize that is really hard to mantain a balance between the formulas that always work in the industry, and your own path providing new formulas that work for you but nobody will understand regarding what is spected to be. ( :stuck_out_tongue: oops I’m not sure if my english is good enough to express my thoughts)
For that reason I believe feedback is so important. And we all should try to help one another spending some of our valious time for that goal.
I’m not an expert, but I know what I feel. Maybe I can not tell you “raise up your EQ in 1Khz strip”, but I can help telling you my feelings about your creation. So everyone’s opinion is gold.

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Hey Julia, great to see you post this!

Really liked what you did with the scene, you went down the original route of writing for drama which I really liked! Especially liked your pads… am I right I’m saying that some of those pads are from EDNA Earth? :stuck_out_tongue: some sound very familiar as I love that library!

I agree with what’s said above. Really liked when you gave the cue space to breathe. They was a great choice.

The only things I’d say for improvement are:

  • dialogue and SFX get a little lost behind the music. It’s a balancing act with music and other sounds, they’re just as important as eachother so I find it’s good to automate the master after mixing so the levels don’t dominate.

  • the second is a small thing, your percussion felt a little hollow, more layers would help this. Try using different ranges of hits. Mix a few really low drums like Taikos, low toms, times etc with brighter drums such as snare, field drum, high toms, tiki takkas, sticks and choked cymbals. :slight_smile: I was taught when going for rhythmic hit sounds like that to look at the spectrum in EQ, as the spectrum should be as full with sound as the rest of the orchestra is. If that makes sense. :slight_smile:

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Thank you, Alexis, I will probably work on the drums a bit more. I am satisfied with the theme and structure as it is.

Thank you, Vicente,

I agree with your opinion and thank you for it. I have several questions. So, if there is a dialogue there should be no music at all or just some pad? My score is not very intense, especially at the beginning… I don’t think piano motif at the start interferes much, the pulsating basses sound quiet too…

and I agree, that there should be more intensity in the drums, as the rising melody and arrangement (triplets in arrpegio) at the casing scene creates intensity. I think I have enough drums, 2 low hits, two toms, snares and high sticks - i just need to make them sound louder…do I need more drums? I was afraid there will be too many layers and the drums will sound muddy at the low end…
I feel that the pause after the explosion feels all right and expresses this emotional moment more than just another drum loop… or a crash or something else… I hear many entries and they were very good in terms of percussion, very powerful, but very little or no music at all… just the drums

thank you, Geoffrey,

Yes, I thinks I didn’t really mix it well, so the music steps over some dialogues… I should have lowered the velocity… also, I wrote the drums and I used two low hits, two tombs, snares and plastic high toms from Damage, also high sticks… may be they are too quiet so I need to increase the velocity? I was afraid that there will be too many layers… actually how many layers should be in a scene like this? because if I have too many the drums will sound muddy… what do you think? I think I need brighter drums? what do you mean by spectrum in eq? I don’t have to remove the low end?

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I would suggest that you need around 3/4 layers, but they need to be the right layers.

If you have damage then two of the layers should be

  • plastics - use the low stuff and detune them.
  • Armageddon ensemble - use the low stuff again.

If you have action strikes or another library that has these elements below then use them.

  • Taikos - the low hits again
  • Snare or field drum and snare ( roll off high end down to 10/12k.

Then blend them until they sound like one drum.

Then set up a bus with reverb on it. After the reverb add an EQ and high pass and low pass the top and bottom out.

  • high pass everything below 150hz
  • low pass everything over 7k.

Add a little bit of this to your drums to glue them. Make sure the reverb is a dark reverb with a 2/3 second reverb tail.

I hope this helps. It will get you that big sound your after.

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Thank you so much!! It is very very helpful and I will write something short like an epic theme and show it here trying to create something like this.

I like it, it is very well done. The only thing I would have done different is when they break the window in the car roof, and get ready to shoot I would have gone into a more action packed sequence of the song. Now it stays just calm and there is something big going to happen.

I understand the next part of the scene, where he shoots and misses, but you could have gone to a more calm moment again then I think.

But I liked it, it really sounded that it was a part of the scene itself, untill the part I mentioned above, but before that and after it felt like it belonged to the scene itself, and that means you have done a very good job!
I wish you a lot of luck winning the contest!

Hi Julia,
During dialogues you can keep the music but volume must be quieter and melodies or something in developement must be avoided because words must have the focus.
About the drums I think they need more punchy effect and maybe a higher tempo to help the velocity feeling (especially with theese slow electrical vehicles :P)
The pause after the explosion is mandatory becasuse there is a “doubt moment”, but only a few second later the chase continues so my brain ask for new chasing sounds.
You say “I hear many entries and they were very good in terms of percussion, very powerful, but very little or no music at all… just the drums”. So you think percussion is not music at all :rofl: :rofl: :rofl: :rofl:, Drumers on this forum won’t agree for sure.
We are working on a chasing scene, it is not credits song. :wink:
I’m writing so much about my vision. I think I should better create my own entry to show my version for the contest and explain my motivations.

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are you entering?

I did in may 13th

Yrs, Jimmy, you are right! I just changed the rhythmic pattern and I added more tension later before the explosion in the arrangement. I need to increase the tempo in the drums.

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When I say my opinion about other entries you don’t have to take it personally. It is just my opinion. I wrote a more melodically cue, with a melody, harmony and variations. Drums may sound melodical too, but still rhythm is what they are meant for. I know my drum patterns are not very powerful and I will work on it. But the cue has it’s own character and integrity.

Don,t get me wrong Julia. I was just kidding. I always try to be respectful and kind. Maybe I took the licence to make a joke with your words, and you don,t know me at all. Apologies.:pensive:
I only tried to be usefull with my point of view. :v:(peace)

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Modular anyone?
Have listened to some work from fellow composers here and in the VI forum- some very interesting approaches and good to share work from all of us.
Here is mine using very minimal samples and mostly modular synthesis (west & east coast combined)

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