Solomon Tomer

Solomon Tomer


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Solomon Tomer

Title
Head Engineer at Tomer Sound. Denver based audio engineer, composer, musician, horror fanatic, yoyo player, and speed cuber.
Bio
Classically trained composer with a bachelor of science in music focusing on recording arts. Head engineer in charge of mastering and post-production editing at Tomer Sound.
Website
Expertise
music tech, music writing, music production / mastering, music performance, music theory
Interests
punk, classical, synthpop, electro pop, dark ambient, experimental electronic, movies, progressive rock
Location
Denver

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Recent Feedback

Elliott Sencan submitted media.

FIREWORK 03.01.15 RUFF (1) by Hollywood Principle

Solomon Tomer

There is a lot of potential here. Perhaps the main thing that is hindering the vocal production is the performance. It is well sung, but it doesn't convey the message of anger well. Inflection and diction changes when a person is truly angry. Consonants and plosive sounds of speech are more crisp and pointed when someone is mad. Working with vocalists in the studio can be very similar to a director working with actors on a set. Talk to her for a minute about something that has really pissed her off recently. If that doesn't bring out some emotion you might have to do go further. I once asked a vocalist if I could slap her in the face right before we hit record. She agreed to let one of the band members shake her. He wasn't too aggressive or cause any harm, but being rattled from the shake brought out one of the fiercest performances I've ever recorded. Of course, this is a drastic technique and certainly not suitable for most instances. Most artists can conjure a moment or image in mind and use that enhance a performance.

As far as production goes, work on the spatiality of the mix. The vocals and instruments are not in the same sonic space. This is usually a conflicting reverb issue. In this case, there is a lot of vocal reverb, but the instruments are fairly dry.
I'd really like to hear an echo, in time with the music, on the word "firework" at 2:10.
 If you are trying to get a little more angst or an unsettling feeling, you could try some reverse reverb at the beginning of phrases, especially the opening line. There are plugins that will do it automatically, but I prefer this method: Cut out the first word of a phase. Reverse that clip. Add a reverb to the reversed audio and record it. Flip the audio with the new reverb back to its original state. When finished, you will have a swell at the beginning similar to the ghost effect used in horror movies. 

Hopefully some of this information is helpful. I look forward to hearing this track again when you have it completed!

David Rosen submitted media.

Solomon Tomer

Music: The composition holds listener attention with subtle variance in timbre and texture. The ending felt a little weak for a single. A longer delay time for the guitar might have helped, but I really wanted to hear a big tom or strong melody resolution to signify the end of the piece. 

Video: While I would listen to the song multiple times in the future, the video did not compel me to view again or share. It is well edited but the images are not captivating for the most part. The silhouette is especially cliche. Consider creating video with original content, even if that means manipulating stock footage to an unrecognizable state. According to YouTube, "100 hours of video are uploaded to YouTube every minute". It is crucial that your creations include content that makes them both remarkable and memorable.