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Posts posted by ChrisAfonso

  1. 1 hour ago, DrTenma said:

    Isn't it similar of what Lucas did in the prequels? There's a lot of micro-editing, tracked music (with weird decisions: I still can't understand why Lucas thought reprising the area music during Anakin's march to the Jedi temple was a good idea, or even an ok idea), etc. 

    That is actually a rare case that I don't mind so much, because the cue was dialled out of the original arena scene and so was used for the first time in the temple scene.

    What's bad about it is the fact it's repeated twice in a very noticeable way...

  2. 1 hour ago, Gurkensalat said:

    Doesn't the Philharmoniker use this quite often? I seem to remember several video recordings with it. The idea behind it is the make the violas more prominent, since they are in danger of being overwhelmed by the other instruments. 


    That's interesting, because I've heard the exact opposite reasoning - that the cellos project better towards the audience when they sit in the middle (good when they have a lot of melodic lines), and thus someone else has to sit on the outside. Whether that's the violas or second violins will then depend on the preference for having antiphonal vs homogeneous violins.


    Which one's true, no idea - depends on the hall, maybe.

  3. 3 hours ago, Incanus said:

    Star Gate and Williams Disaster Movie box for me!  Awesome! Finally The Towering Inferno will be mine, one of the last glaring gaps in my JW collection! :) 


    3 hours ago, crocodile said:

    Stargate and Williams for me. :)


    This is actually a perfect way to release those scores.




    3 hours ago, fommes said:

    Ditto! I think The Towering Inferno is the last gap actually :)


    I'll just join the pack... One of my favorite scores from my youth, and 3 Williams scores I never heard yet (other than a main title or two) :)

  4. After the first full listen (to this set in particular, but also the score in general after many years (on cd or in the film)), the thing that caught my attention the most was the different (shortened) beginning of "A New Beginning" (no pun intended). As the preceding cue ends on an A-major chord, the first few bars of this cue seem to imply an A-minor tonality, with the sparse accompaniment and all, before the arrangement becomes fuller and reveals that the beginning was actually meant as F-Major (maj7). Compared to the album version, which via the longer intro makes the tonality clearer from the start, this initial ambiguity adds nicely to the melancholy character of the cue.

  5. When I bought that seat I knew beforehand that I'd trade in a balanced sound image (and good-angled view of the screen) for a close-up perspective of the orchestra, so I got basically what I signed up for - I really enjoyed the top-notch performance, only occasionally paid attention to the movie on the screen, and due to the perceptive filter of hearing the music relatively up-close and direct vs the dialogue and effects with a lot of reverb it was as close as I expect to get to hear the full score performed live as standalone music.

    Due to sitting directly behind the last 1st violin stand this felt almost like a fly-on-the-wall situation in a scoring session for the movie, what with seeing the musicians work through their music up close, having a side-frontal view of the conductor (who really gave the impression of being on top of things the whole time, no matter how intricate the tempo/rhythm/hitpoint syncing got, but it's no secret Brossé is a master at what he does), noticing a lot of details in the orchestration I never noticed before (though in one instance laid bare by the missing synth ;)), and observing at which points various players started to break a sweat, started to watch the movie (surely a sign of a multi-bar rest), or heaved a small sigh of relief after finishing 15 minutes of nonstop action music ;)


    The audience in general seems to have enjoyed the concert - when it started I was bit worried about the (understandable - not everyone comes to these with as critical an eye/ear as us ;)) enthusiasm of the people in my immediate surroundings - lots of loud whoops and ongoing applause when the music started, even singing along to the fox fanfare and main theme, but it calmed down and the athmosphere in the room felt good, laughs in a few (appropriate) places, but otherwise everyone was listening and watching attentively (and there were none of the usual droves of people getting up as soon as the credits start).


    All in all, Raiders 3 years ago remains the best experience I've had in the ROH acoustics-wise - like Marian said, in the boxes directly opposite the stage you get a good centralized image, and as far as I recall the film audio was actually turned down a bit compared to the music, especially during action sequences without much dialogue, leaving the orchestral sound seem very natural in the room and not really sounding amplified at all. I'd be interested to know how much the film/orchestra-balance is predetermined and meant to achieve a cinema-like blend, or if the engineer in the hall is able to mix it according to their personal taste...








  6. 8-bit Music Theory is a great channel! I think it offers something of value, whether you're fluent in theory or not - as he demonstrates the topics he talks about through ample music examples, and all the notation snippets are played back, so you can just listen to get familiar with them.

    Recently I really liked the "Mount Wario" video, which demonstrates a variety of techniques used in one track to sync it up with the gameplay in different ways.

  7. 2 hours ago, Marian Schedenig said:

    Two weeks ago I was on the edge of my seat when I feared Arya might die during the battle of Winterfell. But since then, the writing has become so arbitrary that I can't even worry much about my favourite characters.


    The loss of this level of investment is one of the things I'm most sad about now. I stumbled upon spoilers before the Winterfell battle revealing that most characters make it out alive (thanks, Twitter), yet at the end of the episode, right up to the NK reaching for his sword, the show had me convinced everybody there was going to die. That, in my book, is effective filmmaking.

  8. Up until the middle of ep 4, I was mostly with this. A few missteps along the way, but the good so overwhelmingly outnumbered the bad things (which I always manage to mostly overlook in any media in these cases - why take my own fun away?). And even since then, there were a lot of things I really dug - the sheer spectacle, carnage, optics, acting, and most raw plot points. But as many people here have already pointed out - the writing (rushed structure, unearned character beats and motivations) brought it all down significantly. Let's see what next week brings. I still enjoy it overall, to an extent, pity about the potential for more, though. What happens is fine... as long as why is adressed sufficiently.


    I'm really looking forward to eventually reading more about Arianne and the Griffs, now.

  9. 1 hour ago, Marian Schedenig said:


    He's written other stuff. He obviously either hasn't yet been able to bring book 6 to a state he's happy with, or he simply prefers doing other projects.


    Given that three years ago (according to a lengthy blog post) he at one point thought he could make a three month deadline to get the book ready for publication before season 6, the former seems likely to me - he's got a lot of it done, but struggles with the rest and/or rewrites existing chapters because he's not content with what's there. The pressure of "it has to be better than the show" surely doesn't help.

    However, if the latter helps him clear his head and get a fresh outlook on continuing the story, all the better for him. I know I get frustrated about the lack of WoW when it's GoT season or I'm in a phase of revisiting the books, but otherwise, there's lots of other stuff to read/watch/play/do in the meantime, what he's already written is great and was worth all the time I invested in it, conclusion or not. And when he's eventually done someday, all the better - a man can dream.




    edit: That chart up there has a highly misleading vertical scale...

  10. I'm on board as well! Decided to go with a stall seat close to the stage for maximum orchestra observation. Looking forward to September!


    On 2/19/2019 at 11:05 PM, crocodile said:

    By the way, among the more recent albums using London Philharmonia is John Powell's Hubris. I think it was actually first performed by them as well during the premiere.


    Thanks for the reminder - that's an incredible piece and marvelously performed recording :)

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