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I would say that Balfe was the initial aggressor in the conversation. His first reply showed that he misread the poll question (what the listeners heard even though we all knew it was a real orchestra). He then dodged my points by claiming that my headphones were not sufficient and that some listeners had wax in our ears. You guys are misinterpreting me as being nasty, but he evidently kept not understanding my questions, and thus I kept having to rephrase them repeatedly... Also, 36.4 people is not the same as 36.4 percent... 😛 Then, I tested the waters with another score that surely wouldn't still make people go crazy (and legitimately sounds like it is performed on dated samples)... And look who brought Balfe back for another round: I'm just trying to have a conversation about the way these scores are mixed and everyone is losing their minds.

Whoever tagged Balfe is an asshole but Balfe himself comes across as a bit indignant at the fact that somebody doesn't like his score (yes, that type of score is what Balfe was asked to do but that doesn't make the score or general approach above criticism)

But that's the thing - I don't think he did originally intend to bring Balfe himself into the conversation (although you could argue that he should have accepted that possibility). Here's the original tweet once again: It was only after this initial post that @YellowOne (whoever that is) tagged Balfe and asked him what he thought. YellowOne then made a rather inappropriate post that essentially put words in SoundtrackMemes' (Drew's) mouth, and suggested that Drew was being really passive-aggressive with his poll. Drew clarified his actual views and respectfully asked about why, precisely, the score sounds so electronic: Was it some type of standard RCP mixing? No, Balfe replied. Drew then brought in part of a Jon Broxton review of a Junkie XL score, which Balfe dismissed as "not worth a valid conversation" (the review was indeed harsh, but I think it made reasonable points in the quoted segment). Then the discussion spiraled into a debate about the progression of film scoring over the years (a few other posters, including David Arnold - he was defending Balfe - had joined in by that point). I thought this discussion was likewise challenging but pretty respectful. In sum, while I personally enjoy Balfe's score and respect his work here, I don't think I'd say Drew crossed any lines in this tweet or the following exchange -- particularly given that the account description is already slightly tongue-in-cheek ("Funny and edgy memes ... in the film music community").

I loved the previous two (and a half if you include the middle segment of the third) because they were fun and lighthearted heist films. The new one is more pure action-oriented. It is very well done, as you say, but not as interesting. People say they develop Ethan Hunt's character a little bit but the experience tells us these films get worse as soon as you go there. He's just... Tom Cruise. What more is there to say? And in this type of a genre talking about friendships and relationships almost comes off as disingenuous and phony. I mean, who cares? To be honest, I have nothing against this film. It's solid and reliable filmmaking. What it sets out to do, it does well. But it's not my Mission: Impossible. And it goes on forever! Karol

This of course depends on many factors (ensemble size, venue, style, etc.) but lets say its a modern large orchestral score in a famous studio. I generally prefer most of the sound to come from the decca tree and far left, far right mics. That is the work horse of the sound. There is actually quite a difference depending on how far the decca is. You can actually hear a difference between 12 feet high and 13 feet high. I prefer most of the reverb to be actual room tone but with a touch of extra reverb by a high fidelity reverb hardware unit is certainly not a problem. The point I want to make is you don't want to record a close instrument then drown it with reverb. That is not an accurate or natural sound. Best to give the instrument some space so you get space for all the frequencies to be heard at their various wavelengths, a clean room tone then add just a touch of high fidelity reverb. I hate close mics with one slight caveat. If barely mixed in, it does provide clarity and an ability to add greater dynamic control and detail however almost all instruments sound horrible up close...even by world class performers. For example, the The ideal sound of an orchestra is around 30 to 50 feet in front of the ensemble (so 40 feet behind the conductor) which isn't practical in a studio plus an omni mic mid stage that captures the room tone. It is a complex topic and requires much skill and a wide range of high quality equipment and experience. Take a listen to this close mic sound of trombones: This is very good playing and to me sounds very tinny, small, none of the rich sororities of the brass. Yes, yes, it's not an ideal mic but that shows you a pretty good idea of what this sounds like up close without any post processing. Another one with the same issues: This is pretty much the sound of a spot mic. Here is mostly decca tree in Disney Hall with omni mics. Try to focus on the timbre of the trombones rather than the fact that now you hear all the other instruments blended. This is now the more idiomatic sound of what you think of when you think of how a trombone should sound like. And of course the OST uses decca tree, room mics, plus spot mics blended low just to add an edge. If you listened to just spot mics the sound would be horrible. Something like this is one of the world's great orchestras in one of the greatest halls with superb sound but it's a symphonic sound rather than a film score sound which wouldn't be quite as cavernous. I will also guarantee the Mahler recording of the Royal Concertgebouw is very good but nothing like the full range of room filling sororities you would experience if you were actually in that venue. I know I am focusing on brass but all of these issues apply in different ways to all instruments of the orchestra. For example close mic'ing a violin will get a rosin scratchy tone emphasis rather than the characteristic tones. To get the warmth, the sweet spot is a minimum of several feet away.

Yeah, it's great that someone's out there to bravely shit on people's work - medicore or not - from behind the veil of Twitter. That really helps make the world a better place.

All she wanted to do was to produce...make films. She had this one...this one fucking weakness.

I slightly tweaked the recording session cue list, for anyone interested. This should be more accurate than my original post. 1m01 He's Here For Us 1m02 A Long Ride Ahead 1m03 Wobani Imperial Labor Camp ?m?? There's Spies Everywhere ?m?? The Detention of Jyn Erso ?m?? Jyn's Interrogation ?m?? Trust Goes Both Ways ?m?? When Has Become Now ?m?? Jyn's Memories of Childhood 2m11a Mission to Jedha Pt. 1 2m11b Mission to Jedha Pt. 2 2m12 The Bazaars of Jedha 2m13 Hearts Of Kyber 2m14a (This Town Is Ready To Blow) 2m14b Jedha City Ambush ?m?? Let Them Pass In Peace Pt. 1 ?m?? Let Them Pass In Peace Pt. 2 ?m?? No Friends Of The Empire ?m?? Reunion at Saw's Hideout 3m20 Today Of All Days 3m21 Star-Dust 3m22 An Imperial Test Of Power ?m23 Apologies Are In Order ?m24 Imperial Departure 4m25 Approach to Eadu 4m26 No Trust Among Rebels 4m27 Jyn's Path is Clear 4m28 Confrontation of Eadu ?m29 Krennic's Aspirations 5m30 Rebellions Are Built On Hope 5m31 A Rebel Change of Heart 5m32 Rogue One 5m33 Cargo Shuttle SW-608 5m34 Good Luck Little Sister 5m35 What Brings You To Scarif? 5m36 Are We Blind? 6m37 Scrambling the Rebel Fleet 6m38 AT-ACT Assault 6m39 Finding a Way Through 6m40 Project Star-Dust 6m41 Entering the Imperial Archives 6m42 Get That Beach Under Control 6m43 The Master Switch 7m44 We Have To Press The Attack 7m45a Scarif Antenna Alignment Pt. 1 7m45b Scarif Antenna Alignment Pt. 2 7m46 Your Father Would Be Proud 7m?? Hope 7m50 End Credits -SUITES- Jyn Erso & Hope Suite The Imperial Suite Guardians of the Whills Suite -SOURCE MUSIC- A Game of Dejarik Kafrene Temple Music The Jedha Khamseen The Jedha Sirocco The Whills Temple Chant -UNKNOWN- News from the Ashes

Ew

Yeah, but you could describe the entire film as such. Gone is the wit and light touch. It was well made but tiresome to watch. Karol

Drango - Elmer Bernstein (Kritzerland) Underrated gem. Dramatic score about an immediately post-Civil War Georgia town. This is my favorite kind of Bernstein score. Lots of complex, ambiguous drama to score. Brooding at times, gentle at others, always thoughtful and interesting. One of my favorite random purchases I've made this year.

OMG, this is SO exciting, I've always been a huge fan of the series! The Original MACGYVER - HD Remastered! I'm buying this the moment it comes out! The before and after comparison looks awesome even now, especially considering the crappy picture quality we have on the currently existing DVDs. And, last but definitely not least - I remember reading somewhere that LLL has been working on the box set of music from all 7 seasons. I mean, if that being released were to coincide with the Blu-ray set coming out ...

@Will, thanks for summarizing for us who don't care catching up on the drama. @Drew, you cannot have a decimal number of people voting yes. It's either 36 or 37.

It's the most complete. There's also the earlier, LP-length re-recording by Kojian, which perhaps sounds a bit more idiomatic. And of course nothing beats the Gerhardt-conducted suites.

You make it seem as though the people who have helmed the Star Wars franchise over the years owe their fame and fortune to their fans. By that logic you owe your fortune to your employer. No, it's a simple exchange. The creator of an entertainment doesn't owe you anything even if you're the one(s) that made him famous in the first place. You are not entitled to or owed anything. When you pay to see a movie, you get to see a movie. End of exchange. Nobody owes you more than what you already got.

Agreed. Very well executed, the action sequences truly are something to behold, but it’s not my ideal of what an M:I movie should be, personally.

Angela Bassett’s character could’ve been describing the change in direction for the music when she said “Why use a scalpel when you can use a hammer?” (Or whatever the line was)

"To survive in a film industry at war, he must find a strength greater than all the events that surround him".

Straw head racist!

Oi!

Contra and Super Contra are two different games. The Konami code only works on Contra. Your NES Mini has only Super Contra. From Reddit: igi182 • Dec 26, 2016, 6:06 AM The Konami code does not work for Super C. Super C doesn't have a 30-man code like previous Konami games as this was the first game where Konami tried to buck that trend. However, there is a code to give you extra lives and I refer to it as the, "30 man" code for Super C. The, "30 man" code for Super C is as follows: Press Right, Left, Down, Up, A, B, Start (press Select, then Start for 2 player games) before the title screen fully comes in. This will give you 10 lives for the first play and 10 lives per each of the next 2 continues, thus you will have 30 lives in total for that play session.

I tend to enjoy his light, airy scores quite a bit. Like drinking from a cool mountain spring

And I agree with him. TOS, TNG, DS9 and VOY also are continuations (if sometimes overlapping) set consistently in the same universe. And yet they're separate series.

With RT and new films you want to aim in the 50 - 72 region, and write everything else off as probable hyperbole.

Hehehe ... I know Stu was only teasing, but Russell T Davies was absolutely adamant that 2005 was a continuation not a reboot. Hence Eccleston being the Ninth Doctor and not the First.

Patch Adams is okay but not essentual viewing.

no

There is. If he did it, then I'd have to buy the CD!

Munich for movie, easily. His last masterpiece IMO. War Horse for score because it's just so calming, melodic and beautiful. You can tell Williams drew upon something larger than the movie to write it.

Movie: Munich Score: Lincoln

The most underrated and underwatched era, was the McCoy era. There were some truly great DOCTOR WHO stories, then. Give me REMEMBERANCE OF THE DALEKS, THE GREATEST SHOW IN THE GALAXY, or THE CURSE OF FENRIC, over anything that Moffatt had to offer.

War Horse for score and film. SPR in second place.

Trumpet Concerto by John Williams Love this work. Some passages have the air of filler about them, but, overall, there is much to be impressed with. Some very nice writing and orchestration, and one of John's more coherent structural efforts for the concert hall. Scherzo for Piano and Orchestra by John Williams Great vitality in this piece. Like I've said before, it has an energy that rivals some of his best action cues. Balto by James Horner Lovely score, very pleasant listening, some excellent moments. Gotta love that dynamic range.

Wha'?! It's a brilliant, rough-diamond of a film.

Are you kiddin'? That's when women's awesomeness INTENSIFIES. ~

Short Round's theme is a better one than the Raiders march.

Strauss' "Die Frau Ohne Schatten" (Woman without a Shadow) may not be for everyone, with its hyper-dense orchestration and thick counterpoint...but the Emperor's aria from Act Two, Scene Two (1:15:12 - 1:28:28), has no business being as good as it is. It's Strauss at his finest. (Btw, anyone else hear the similarity between this and the Droid Invasion from TPM? I'm mainly thinking about the D->C# appogiatura, and the incessant upward arpeggios in both (in the above video you can hear the arpeggio at 1:15:46, a recurring motif throughout the opera) .)

Yea exactly, Spotify is a great tool to check out new film music before you decide whether to purchase it or not

Only 5 months late for no explained reason. Covering the most underrated and underwatched era, the Capaldi era. I will die on the cross of explaining to people the show was actually great during those years.

Just got the NES mini. Now I have both. So many games loaded on this thing that I never got to play growing up like Zelda, Castlevania, Pac Man, Mega Man 2, etc.

A History of the Soundtrack Year 2018 and its Major Disappointment, by Bolle M. Anneke

The Lost World's Goodfellas shot.

John Williams on the possibility of having to use the Ewok theme in IX...

To quote Roger Ebert, '"Doubt" has exact and merciless writing, powerful performances and timeless relevance. It causes us to start thinking with the first shot, and we never stop. Think how rare that is in a film', and though Streep's grand performance overpowers the film - all the others act more natural - it's great to watch.

If I was a girl, I wouldn't date a guy who does Mission: Impossible music like that.

The bromance continues;

I don't know about Koray, but supporting Trump is the best thing we have to maintaining free market capitalism and protecting the First and Second Amendments for the foreseeable future, and Brexit was an excellent move by the British people to free themselves from the tyranny of senseless, bloated Eurocracy.