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Everything posted by ChrisAfonso

  1. I remember trying to take a cassette recorder to a repeated cinema viewing to try and get a recording of the climactic burning oil scene music, which I missed sorely on the rudimentary CD , but for the life of me can't remember how that turned out... suffice to say, a comprehensive release of this score would be most welcome!
  2. Thanks so much Maurizio and Tim (and all your guests), this was an awesome conversation to listen to and a fine way to spend an evening! So many great stories, especially hearing David Cripps tell the Leia's theme anecdote (I wonder, was his horn colleague worried about his well-being, or would he have liked to get a shot at it himself? ).
  3. He got around that by just calling the Main Title "Fanfare"...
  4. Indeed - and the hardback casing is very sturdy (if only DG had put the Mutter/Williams/Vienna discs in some of those). Of course there's not really any new information in there for die-hard Williams aficionados, but for anyone else (the real target audience for a "spotlight" album, I guess) it's very nice to have an extensive overview of his career, paired with a few comments by notable collaborators and himself, and some cool "concept art"-like paintings/drawings relating to several of the scored films. Also a nice painterly filter applied to all of the photos... they really wanted to art it up
  5. Out of curiosity I tried my hand at another one of the unrecorded cues (but a much simpler one): Total Logic (Early Version) (mockup) (No video, though)
  6. Ordered. I have too little Rozsa... and the violin concerto is great, can't complain about more use of those themes
  7. So that's 46:16 (including source music) of music in the film, if I calculated correctly... plus 14:43 of album-only cues, makes 60:59 total, of which 34:12 appear on the album, which leaves 26:47 of unreleased music.
  8. I find this connection a bit far fetched, it's really only three notes in the middle of the phrase, and the gesture/movement of the piece is completely different (Puccini is more static, a grandiose statement, whereas Williams is full of energy and forward drive).
  9. I'm hoping for an eventual album with the two violin concertos and treesong (runtime permitting). Technically it would qualify, being an extended work for soloist and orchestra in 3 movements (side note, are you confusing Treesong with Heartwood? Since the latter is for cello, and in one movement). But a composer is free to call his works what he likes, and "concerto" also carries some connotations of scope, so he may see Treesong as more of an impressionistic (in a loose sense of the word) fantasy or meditation, compared with the more ambitious scope of e.g. the first violin concerto.
  10. I love the samplemodeling brass. Using a fader (or mapping to modwheel) for dynamics/expression works fine, but I've found it's much more fun (and yields more "natural" curves) to use a breath controller (which also frees up your hand to input e.g. vibrato via modwheel in the same pass).
  11. A dedicated audio interface (with a fitting ASIO driver) definitely helps a lot with latency! Other factors are the buffer size (smaller = less latency, but more CPU load and risk of drop-outs/crackling), and of course how immediate the attack of the used samples is.
  12. If you already have a score done in Sibelius, you often can get a really good result by just using Noteperformer, with almost zero effort. Of course a "real" mockup with good sample libraries can sound a good bit better (and more "3-dimensional"), but takes a lot more time and work. An important consideration for me is that writing a cue in a notation program vs starting by inputting one line after the other in the DAW has a big effect on the music that comes out - it's a clumsy way to put it, but for me notation leads to more things planned out as a whole, while composing-in-DAW leads to a "one thing, then the next thing, then the next thing" approach (whether the things are counterpoint, harmony, or whatever). If it's really too hard for my (mediocre) piano skills, I may slow it down while recording. But usually I like the imperfection that comes with real-time input (especially for things like woodwind doublings in runs), and rather break it up into multiple passes (e.g. one or two groups of 16th notes at a time - position fingers on correct keys beforehand ) if it's too much to handle in one go, plus a bit of judicious square-pushing in the piano roll afterward - usually no automatic quantization, which messes with built-in delay of different samples anyway.
  13. Just got around to watching this yesterday, and enjoyed it very much - Many thanks to all involved! I also wouldn't have minded if it had been twice as long So many great stories everyone had to tell. I thought that it really added something to have a bigger group of guests there, which allowed many recollections to be augmented by additional viewpoints and experiences.
  14. This sounds great - getting some Goldenthal (Final Fantasy) vibes from this.
  15. Great interview! But of course when it comes to minute details, caution is advised in taking everything verbatim... like him calling Wagner "God the Father", which crumbs has translated from the article's "Gottvater", which itself seems to be a mistranslation on the journalist's part of "Godfather", which means something slightly different
  16. Well that was fast. Handling import taxes (28€, acceptable) went without a hitch by online pre-payment. Looking forward to dig into these!
  17. I think this is a bit reductive. Listen to the arc of the piece: Starting just with a busy, preoccupied ostinato, sounding very tense; then adding color via the light pizz harmony patterns in the background, leading to a joyous theme in chords in typical Powell-fashion, finally calming down again. Referring to the title, to me this evokes starting a cumbersome task with push-through-determination, then slowly getting into the flow of things, time flies by, and before you know, you're done. /edit: Just bought the album. This is exactly what I need to counterbalance all the big orchestra music I've listened to lately. Thanks Jay for posting!
  18. I have a few of the box sets he scored, though mostly non-Doctor stories about other characters from the universe - "Missy", "The Paternoster Gang", etc. I'd recommend them - apart from the music being very enjoyable (and very Kraemer in style, not a copy of Gold, or Akinola - mostly a mix of adventure/whimsical/mystery idioms), the stories are fun to listen to, the voice acting is great, and most of the sets contain a lengthy suite of Joe's score at the end, which alleviates the fact that there only has been one standalone soundtrack release so far.
  19. Did this as a little exercise for mixing/balancing with some newly-acquired libraries (definitely room for improvement):
  20. I'm fairly sure "Nimbus 2000" is identical to the version on disc 3 of the LaLaLand Harry Potter collection, and "The Sorcerer's Stone" may be the track "The Stone" on disc 2?
  21. I'm about 3/4 through The Pathless, and the music works really well in the game, often becoming part of the landscape, but stepping into the spotlight every once in a while with spectacular effect. The already mentioned behind-the-scenes videos on his youtube channel are highly recommended, great look into the process (and who doesn't love to watch raw session footage?)
  22. The "It Can't Be"/Anakin's Dark Deeds one has always puzzled me, such an awesome moment (though already simplified on the way from orchestrated score to recording - there's an additional trumpet flourish he apparently cut on the stage?). Trying to rationalize it, I'd guess it's JW's inner Thor? The track indeed flows better in reduced form, at the cost of an incredible moment, taken in isolation - it does seem like two consecutive climaxes in the complete cue.
  23. Maybe he's working on a grand final concert suite and wants to hold it back for that... just an optimistic dream
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