tedfud

yeah...well I LOVE it but sonically it's kinda ruff. Playing is perfection. But they where really hampered with the size of the desk
 
best
 
e
 
Yes it's fantastic. Especially THAT cue
 
e

Ok
 
Well thank you for all the suggestions. The biggest variation I hear in all these is the Brass. Specifically the horns. TLJ are massive and DARK and set back whereas Raides they are much smaller and closer. If memory serves he usually sticks to 6 horns so it's just a balance choice. Again maybe it's abbey road vs SONY !. TLW is a great score but the percussion makes it unusable for my requirements . Changes the profile to much. The potter films actually DO sound fantastic . Weren't they done at AIR ?. Perhaps ABBEY ROAD suits tighter sharper writing ?
 
Listening yesterday I think it's going to be the last jedi. with Chamber Of Secrets a close second. The Brass in the opening Cue of TLJ is just wonderful . But the Horns are very very loud. Normally they'd be close to half the weight of the trombones. But as you can hear they are just as loud ! And at 3;58 almost cover the Trumpets. I was at the Barbican ( I know!...NOT a good sound ) with my son for a JW concert and the Bones and Trumpets where twice as loud as anything else at all times. 
I know this is a hollywood thing ( Jerry Goldsmiths and the Mummy's 6 TUBEN and 6 HORNS ) 
 
 
Best
 
e

I am excited to announce Film Music Notes' very first online course, Action-Music Harmony in Classic Blockbuster Films. To see what's in the course, watch the video below and find out more on the course page, where you can view lesson contents, watch a lesson preview, and enroll in the course!
 
 
Please Note:
To avoid copyright infringement, this course contains no score excerpts or audio from film scores. Students are directed to find and listen to soundtrack excerpts while the course content consists of:
 
1. Music theory connecting the techniques to be discussed
2. Analysis describing the techniques behind Williams excerpts
3. Composition tutorials applying the techniques to original compositions, and
4. Composition exercises comprising abstract scales, chords, and original music

I'm allowed ? Oh how splendid.
 
t

The content of this thread was so predictable, it's kind of sad in a way.
 
Like many have already said, John Williams has probably heard some of Zimmer's bigger works, and likely respects his enormous success in the industry, as one would expect of a class-act gentlemen like himself. But I doubt he's really a "fan", in the sense that he often listens to his work.
 
And the comparisons between both composers made here are often silly. They're both hallmarks of the industry and exceptionally talented at what they do best.

 
No ...but I doubt he would want to. That's not his approach. He has a very firm grasp on most ( if not all ) of the techniques involved but I suspect he thinks that JW does it better so why try !. He is on record for saying " Close encounters is as good as anything Stravinsky wrote ! " JW pretty much cornered  the market with "the battle of yavin" style of writing I think for the big screen, and this was 10 Years before Hans started. Hans did something very different. And yes you could say simpler but as Ravel put it " Complex Not Complicated "
 
 
t

that is just snobbish nonsense.  Hans Zimmer has had just as big an impact on film scoring as John Williams. No his music doesn't sound anything like JW's . Why should it ? . But judging by the sound of the last 15 years of film scoring I'd say Hans is doing rather well. 
 
t

The greatest legacy of this soundtrack will be, or at the least should be, that the real way of film scoring can still be compatible with the modern cinematic style. I hope it inspires some young classical music students to bring their knowledge and write traditional symphonic music for Hollywood, a la James Horner

superb...well done !
t

This post brought to you by Google Alerts...
1) I won't be scoring any of the Star Wars spinoffs because nobody's going to ask, but:
2) If I did, I wouldn't do a "Williams" thing, anyway, because:
a) It's not necessary, not even if one wants to incorporate the classic themes
b) People who barely know my work think all I do is an impression of one of his flavors anyway, which is untrue but something I don't need to be encouraging.
c) John Williams.
That said, I do appreciate the support I'm doing my best to train younger guys on the stuff I was schooled in, so the art of long-form, symphonic writing for film isn't lost to nostalgia and history. But there ain't much call for that these days...
_Mike

http://blog.oup.com/2014/12/scoring-loss-across-multimedia-universe/
He's written some good stuff....fun video Too.

thank god the internet didn't exist in 77
t

thank god the internet didn't exist in 77
t

thank god the internet didn't exist in 77
t

oh my........how wonderful........do u think he jigged the orchestration to add more bottom end ( 1;12 ) or is this post Zimmer Williams mixing ?
t

i find the odd cluster and screeching are just used like a preset now. Mash the keyboard with your but cheeks , kinda way. True carefully plotted dissonant writing has gone.
this wouldn't happen today .

we would get this instead;

and that is really because Hollywood don't want the former. It's not being used in temps, it's considered old fashioned.
this is considered avant garde now:

t

the simple answer is yes. As most film scores are chasing, to some degree, temps, composers have to pay attention to choices that directors, editors, and anyone else sufficiently high up the food chain have made. Sometimes it's the composers own work ( goldsmith famously decided that the director, and editor was wrong in wanting a creepy dissonant score and went with romantic....only to see the director pick the editors choices instead. Also pop music style progressions are the norm now...so dissonance doesnt really fit........god I hope it comes back. Interesting to see Ligeti's requiem re-apear in Godzilla. Cant help thinking if Desplat had written it they would have tossed it !..
t

This has always struck me as very like Herrmann, Williams, Goldsmith etc...more majors than minors.
https://www.youtube.com/watch?v=fdyFe01NVU0
top stuff
also good old nicolaj Andreyevich Rimsky-Korsakov was partial to the old root movement by 3rds back in 1881
https://www.youtube.com/watch?v=Bu4ssxtBj5Y
t

This has always struck me as very like Herrmann, Williams, Goldsmith etc...more majors than minors.
https://www.youtube.com/watch?v=fdyFe01NVU0
top stuff
also good old nicolaj Andreyevich Rimsky-Korsakov was partial to the old root movement by 3rds back in 1881
https://www.youtube.com/watch?v=Bu4ssxtBj5Y
t

was it a 2500 ?...thought he used a 2600 . Its just a couple of oscillators beating together ( sawtooth ) with the filter opening and closing just a little . The cutoff is set very low so all the top end is filtered. Steep slope too ..24db. Might just be a little white noise in there too for grit. Could well be a minimoog that he had . Not a tricky sound to get. Sounds like the very low frequenices have been shelved. At around 90 hz.
t

i think the term is "dog whistle politics"
I am a big fan of a lot of eno's music but without doubt the worse thing I ever read was his diary " a year of swollen appendices "...utter pretentious drivel with steaming heaps of name droppings ! ". He is sort of , the Andy Warhol of pop. Has definitely worked on a lot of great records. But a lot of the Time actively pulls focus from those who in my opinion contribute even more.
t

i think the term is "dog whistle politics"
I am a big fan of a lot of eno's music but without doubt the worse thing I ever read was his diary " a year of swollen appendices "...utter pretentious drivel with steaming heaps of name droppings ! ". He is sort of , the Andy Warhol of pop. Has definitely worked on a lot of great records. But a lot of the Time actively pulls focus from those who in my opinion contribute even more.
t

he's learning the song
t

man of steel....so epic....
t

man of steel....so epic....
t