Mooz0r

Williams and just about every other composer on the face of the earth. They're a pretty common compositional device really.

Anyone heard the score for Casino Royale yet? Is it good?

Hey! Are those samples from the Kontakt Player library for Sibelius? Sounds like them! *Memories come flooding back* I used those samples for so long!

Both AMAZING cues, but I do prefer The Quidditch Match from SS by far.

As far as Sibelius' percussion notation goes.. Any 5 line percussion stave is just mapped to random MIDI percussion sounds in a pretty pointless way. So although it wouldn't sound like Pitched Toms when played back, obviouslly the percussionist would play it fine in real life. You can also (I think) create custom staves and map various MIDI sounds to different notes on the stave to make it sound right.

It really does not matter if the notes are written between the stave lines or on the stave lines. Because they are only an indication of relative pitch the percussionist is going to interpret the notation exactly the same either way.

It's not uncommon either for a synth "subbass" to exist in order to enhance the bass power. The subbass plays the double bass line but an octave lower, which gives that huge cinematic bass sound.

How can you define what is and isn't an instrument? In my opinion, any object that creates a sound that is remotely interesting is a musical instrument. When Liszt used the triangle in his Piano Concerto No. 1 (being the first piece to use the triangle prominently), it caused somewhat of an uproar amongst the more controversial isteners. Today, triangle is considered a perfectly normal musical instrument. My point is that we shouldn't let history define what a musical instrument is. If the object sounds usable - it is a musical instrument.

@Chris : Thanks for the compliments. I think the key to working with samples is just getting to know exactly how every sample set you have sounds, and taking a mental note of how and where that particular sample could be used. The last clip features a lot of sounds from EWQL Gold, and Stampede is VSL Opus1/2/ VSL Percussion, with EWQL Stormdrum drums. With VSL, the trick to getting realistic sound is a heavily tweaked, good quality convolution reverb, and a load of EQ'ing (cutting the extreme highs and lows for example gave the stopped horns a distant "back of the room" sound). And if I'm honest, I've never heard any of Ifukube's work! :oops:

I'm not sure if that was meant in a positive or negative manner!

I don't think I've posted anything here for a while, so here's a few excerpts: - Tiny Lil' Monkey (Excerpt) - Stampede! (Excerpt) Something I'm currently working on: - Clicky Make of it what you will!

Sorry to say that acheiving a realistic sounding "fake orchestra" isn't an especially easy task - you need to put in the hard work yourself and research to achieve a good cinematic sound. There's really too much knowledge and information surrounding the area to be able to go through in one single forum post.

I think The Greenhouse Effect works well in the album as a midway breather cue - seperating the listening experience so that when we re-enter with Eye-Dentiscan our attention is drawn back. Plus, it's a pretty decent and interesting cue on its own, which develops motifs and ideas that are continued on later throughout the score. Anyway, I love the score for Minority Report hugely - and I love the film as well. The brilliance of both compliment eachother beautifully. I think the score has a bit of everything - the post modern, innovative ideas; the exciting amazingly crafted action cues; the memorable thematic material; the heart warming family theme, and just the overal feel of the score is so moody and dark and just suits the film so well. I love the mystery hermann-esque finale cue as well. The orchestration on the score is brilliant as well. Such a clever score. In fact, it was one of the scores that got me hooked on Williams.

That's not Williams! LOL

Yes, Williams' score for Sabrina the Teenage Witch is indeed fabulous!

My GOD... I've always disliked Zimmer's music, but I didn't realise he was such an arrogant, ignorant idiot. He has no right to be big-headed when everything he produces is so mind numbingly shite.

Well, the main thing that made Jurassic Park so enjoyable (in my opinion) is that you genuinely cared for the characters. For some reason we seem to warm to vulnerable people naturally, perhaps because we feel protective towards them. So, in Jurassic Park, when the characters were being threatened by gigantic dinosaurs it was genuinely exciting and scary to watch. Moving on to JP3, the character development was poor. This, along with a shitty storyline made JP3 a dull movie. The characters just didn't seem to give a damn that they were risking their lives. Oh, and the 10 year old boy who survived in the jungle for weeks against 100's of dinosaurs - yeah right. :roll: .. The first time the group encounter a dinosaur, it's turned into a funny moment - "Nobody move a muscle".. *everyone runs*.. All I can say about that is LAME. Considering the overall crapiness of the film, I consider the fact that Don Davis produced such a brilliant score astounding. I think the orchestration and recording was a little weak in places, which generally didn't help the score. But for the mostpart, Davis wrote some very complex, interesting, and inspired music that I don't think many other composers around could've done. Oh, and I think Davis' family theme is well written and charming, but within the context of the movie it comes across as cheesy.

It's a celesta and it is the same starting notes as the Ewok theme. Probably intentional.

That's some scary kind of conducting. He seems to be having a fit rather than keeping the orchestra in time.

Well that certainly wasn't what I hand in mind. Listening to it, it doesn't really have the same sound either. I based the orchestration and harmony more on The Mission, The NBC Nightly News Theme.

Perhaps this will give you some idea between the difference of a single line melody, and a full orchestral arrangement: Original: http://jwfc.oc.to/FCTheme.jpeg Full Arrangement: http://blog.jackchapple.com/st00f/Williams...Fan%20Theme.pdf

What's that lone trombone doing down there? LOL I think he has the wrong note

Williams simply wrote a melody. He hasn't given any harmony or instrumentation indications.

Very hard to choose, but here we go: 1. The Arrival of Tink/Flight to Neverland (Hook OST) 2. Harry's Wondrous World (HP:SS OST) 3. Theme from Sabrina 4. Zam the Assasin and The Chase Through Courscant (Star Wars Ep .2 OST) 5. Mr. DNA (Unreleased - Jurassic Park) I've missed off so many great cues! =(

I don't know of many (if any) composers who actually rely on orchestrators that heavily. If the composer just wrote a melody, and left the rest up to the orchestrators, wouldn't that make the orchestrator an arranger? Anyway, with or without an orchestrator - a composer would still tend to write out more than a melody. The orchestrator's job is usually to pad out a possibly thin sounding score and making sure everything is playable by the orchestra.