Anybody want to be an Interstellar Fur Trader?

Anybody want to be an Interstellar Fur Trader?


@steban and @Stan_Halen , I did a somewhat different mix, so we can either choose or combine the two versions, Steban has some neat effects in his. See what you think.


Wow, Ingo, I like this version! Very dramatic! I like that deep machine hum when the voice comes in, makes me imagine starship. I overdid it, but I was going for an original Trek communicator bridge beep to perhaps open and close and maybe an occasional chirp panned far right or left. Can you add something like that to your mix?


I should be able to get the narration done tomorrow for my part.


@steban , @Stan_Halen , Here is the intro mix with some added effects. See what you think. I’d like to put this in the BTR for feedback but first let me know what you want to change.


This sounds perfect to me, Ingo! The little sound effects to me add to the room ambience you are conveying. In the future cues, I’m now hearing crowd noises, muffled conversations/laughter, people walking by or sliding doors swishing open and close, but not to use them all up in any one cue!

I’m curious what BTR will reveal, but to me, as a composition and arrangement, it maintains interest while still sounding original and apropos. There’s a bunch of silence at the end, though, you might want to chop off, which I’m sure you know.:sunglasses:


I really like the intro music and effects! When my narration comes in I feel there is a bit too much reverb on it, or the particular settings on it are too extreme. There is a ‘cavern’ type depth to it that doesn’t seem to make sense for a starship bridge? I’m a bit torn on the effects in between narration lines. On one hand it is interesting and some good effects (storytelling), and on the other I had already felt (from hearing steban’s version) that my narration was a tad slow on pacing perhaps. Putting effects in between stretches it out even more. But that’s just my initial thought. Whatever works best for the story and the flow is what ultimately matters.

Yeah, once we feel it’s where we’d like it to be, it might help to get some feedback.


Great suggestions Stan, I think you are right about this and first impressions are important. Let me make some adjustments here and we’ll try again.


@steban and @Stan_Halen , here’s another mix of our intro. I took Stan’s suggestions and rolled back the reverb on the vocal and took the spaces out of it also. It is now back to original form except for a break at 0:55 where the rock band enters. See what you think, I’m happy to try any changes.


I really like this one! The brass from about 0:20-0:30 seemed a bit on the bright side, but heck it’s brass and it’s only a brief passage. The brightness does add excitement so it’s probably fine.

I think that works really well having the break in narration after “Planet Hollywood” at 0:55, with the rock interlude. The drum roll/fill that kicks it off seems just a bit awkward or clustered, could be a little smoother or flowing. Kind of like a Children of the Sun drum fill?

The vocal reverb seems pretty good. Just a touch of reverb tail like it’s bouncing off the hull of the ship.


Those should be easy fixes, thanks for working with me on this. This project needs to get off on the right foot.


It’s sounding good to me! It’s going to be a strong opening, thanks to you two.


@steban and @Stan_Halen, on this mix of Cue 1, I have shortened and cleaned up the drum fill for the entry of the rock band and I’ve taken the edge off of the trumpets also.

See if you think those changes work and double check for any other issues; thanks for your patience!


The trumpets sound less bright now, better I think. What I heard before was mostly a couple seconds during the crescendo. I could have been more specific about that.

The drum fill starts off better, then the timing seems a little wonky about 0:55-0:57, then the beat settles into the groove. I think it’s the transition when bass and other instruments come in, the timing is just slightly off from whatever drum beat seems like it should be in alignment with that. There are three tom hits that sound good, then the fourth one is slightly off, then the kick (maybe snare too) that begins the regular beat seems out of time for one measure or so (relative to the other instruments).

I hope that helps, and on one hand I feel like I’m being very picky, but on the other I used to be a drummer so stuff like that automatically puts me into deep critique mode. I think just a few MIDI notes could be nudged slightly in that area to balance it out, so that when everything comes in strong there is a flow into it. The feeling of flow is the main thing IMO. Sometimes in a tricky situation like that (if you can’t seem to make all the drum hits work), you can do a few tom hits then a crash or ride cymbal and let it ring out until the full beat comes in, so that you have a smooth transition.


I defer to Stan’s ears as I am not a drummer and don’t notice that timing issue even pointed out. However, I think it sounds otherwise quite good, Ingo. Thanks to you both, these narrative segments, which are out of the scope of most musical projects, are going to feel natural and integral in the big flow. We are taking a bunch of diverse songs and connecting them subtly so that the listener’s brain decides to hear it as meant to be together. I can only think of War of the Worlds and Kinks Preservation Act II that have narration and songs, so our effort is practically unprecedented.


Steban and Stan, thanks for replying.

Good points Stan, I want you to be picky and I appreciate your drumming expertise. Manipulating the various timing issues has left me on the wrong side of the beat, but as you say I should be able to move some stuff around to fit (isn’t that what Charlie Watts used to do?)

I’ll be back!


@steban, @Stan_Halen, here’s the latest version of Cue 1, back on the beat! Please check through this for any issues, I need some fresh ears here.


Drum segue is perfect! This track sounds very good to me now. One note on the “Ahhhhh” thing at the end … it seems kind of long, but we’ll probably have to see how it merges with the first song as to how that timing works.


Thanks Stan. Yes, the last note is suspenseful and prolonged, wouldn’t be good for a stand alone piece, it needs to go somewhere as you say. I’d like to work a bit on the first song now, I have some ideas which I’m hoping you and Steban can help with and maybe the two pieces together will make sense. Then possibly we could put that combination into the BTR? Just thinking out loud here . . . .


This is a done deal, dude! I haven’t listened to it in context yet, but I will, and I think it will flow nicely as is.

It also sets a high standard for the rest, plus a good starting template so to speak.

We are supposed to get clown’s narration any day, which is in Cue 2. I don’t know if you guys are intending to do them in numerical order, I’m not rushing/micromanaging, just excited!

But I am thinking that the cues will be separate tracks from the songs. What do you think?

You are cooking with gas, Ingo! Follow that epiphany! I’m ready to hear what you have in mind.


Yes, I think the Opening and Song 1 could be linked and put in BTR for feedback (after Song 1 is where we think it should be). The Opening would lack context without Song 1 for that particular purpose.

Did you mean separate tracks just for production purposes, or for the final product?
I found your Mink Stolen track on that other forum, and it was one long MP3. I guess I was thinking this would be the same. We could split them all into separate MP3’s, including the cues, but that would be a LOT of tracks for someone to keep up with. If it were going on a CD then separate tracks would certainly be a good idea.

BTW - I have my (preliminary) drum track lined out for GAOTSS, and have been working on arrangements for the lyrics. I found those SFX we talked about too. Taking it one step at a time, but the wheels are in motion.