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About Datameister

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    Stab me with socks in Chicago

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  1. If you're gonna change the word order to maximize clarity, I'd put "badly" in front "imitating." Putting an adverb between a transitive verb and its object just sounds weird.
  2. That's a great way of putting it. Personally, I use Netflix all the time, but my listening habits are quite different from my viewing habits. With music, I care a lot more about avoiding compression artifacts, and I have a lot more interest in repeat listens than repeat viewings. I also think of the listening experience as somehow a lot more sacred, and using Spotify or the like somehow seems to cheapen it. No idea why I feel that way; nothing objectively wrong with the service for those who are interested. But I'm just not. I enjoy carefully curating my own private music collection.
  3. Definitely still buying and burning virtually all my music. I enjoy the physicality of the product, and more importantly, I strongly prefer to have lossless copies of my music. It's not that I can hear high-bitrate lossy compression - I can't, whatever my biased brain might tell me. I just love music editing, and I can hear lossy compression when it's applied to something that's already undergone lossy compression.
  4. The drunk music in E.T. made me laugh out loud the first time I heard it on album. I'm also a big fan of that cringeworthy penultimate chord in Aunt Marge's Waltz - so close to the traditional, expected ending...and yet so, soooooo far.
  5. TPM would be a fun one, but yeah, like you said, I haven't done one for any cues from that score. Maybe in the future! Regardless, I'm not sure what you're referring to, PS, but if anyone else does, I'd be very interested to see it, too!
  6. The Whip Scene More Whip Indie Gets the Whip Steven's Whip Collection
  7. I hear that for the first time in this franchise, Williams is going to write a whip theme for Indy 5!
  8. I prefer a2, but it's also correct as a 2. For the snare drum, you would only use x-shaped noteheads to indicate rimshots or stick clicks, things like that. Otherwise it's normal noteheads. Personally, I prefer them to be on a normal staff with the two-lined percussion clef, but sometimes you'll see it with a single-line staff too. Technically correct as well, but IMO it's somehow tougher to read. For that TPM source cue, if it helps, keep in mind that it's identical to another of the source tracks. It just has the recorders taken out. You can line up the audio and it matches.
  9. Williams had his "out" with TFA and he didn't take it. I think the man genuinely does enjoy writing (among other things) Star Wars music - albeit colored by whatever interests and stylistic tendencies he has at the time. I see/hear somewhat more intellectual, interesting, innovative work in the oeuvres of other composers. But none of them affect me quite the way Williams' work does on the whole. He's uniquely skilled at achieving a balance between depth and accessibility, or at least the type of balance I enjoy.
  10. After the loud clatter of xylophone? The low sustained notes are bass vibraphone. There are some logs in that cue too, along other things.
  11. In response to the original question...I really wouldn't try to convince someone of such a thing. I might share some of Williams' greatest works with an interested newcomer so they can draw their own conclusions, but ultimately, music that affects one person may not affect another the same way. My choices for what music to share with them would depend on their current musical interests. I personally would be persuaded (have been persuaded!) by things like the end sequence of E.T., the battle of Hoth, Binary Sunset, Journey to the Island, Desert Chase, etc.
  12. I wasn't implying that there's anything wrong with having limits to what you can imagine. I'm curious where those limits are for Williams, and what his process is like for writing music that goes beyond those limits.
  13. I'm sorry...what is, "How much can you keep track of in your head until you have to use the piano to assist you?"? Damn it, that's a question within a question...
  14. For me, it's not so much that I want to ask a question - I want to be able to watch the whole painstaking process of spotting, writing, orchestrating, recording, mixing, mastering, and editing. Everything that goes into making a score, including the parts that Williams himself doesn't do. But if I had to just stick to a question, I'd love to get some insight into the extent of Williams' auditory imagination. When he's writing complex music with lots of counterpoint and so forth, how much can be keep track of in his head, and how much does he use the piano to assist him in this?