InTheCity

I’ve been hired to transcribe some of these and would love a peek at the real thing, or roster size etc

I think it’s less about JW than SM - he talks in his mixwiththemasters about keeping continuity

Lets use our common sense here, engineers like to set up once - there is a 0 percent chance that the setup would involve the timpani moving in the middle of a session, or in the middle of a day - 0 percent chance. SM prefers his timpani off to a side, therefore we can infer the session was probably later - also having two endings for JW is atypical - this was probably an add on because they added more picture or something As a further example: we can assume the Jurassic Park cues with the Taiko Drum ( like the opening title) and African percussion "jungle" were recorded at the same session - I'd assume the Jungle layering which happens a few time was an overdub at lunch or later in the afternoon etc.. this is the way sessions work

Perfect well done !!

one can tell this just by listening - one doesn't need the sheet music or the youtube video to find out why I'll leave this spoiler free to see if anyone can figure out why this is the case

I'm late to this party - any info when this is back in stock?

He's a Los Angeles attorney who deals exclusively with unusual clearances for big clients like WB & Fox. He is literally THE source on these types of things, the most experienced and senior legal reference on the topic in the industry. The general legal precedence is as I stated: "if you make money by treading on someone's good will (name) with out compensating them you are open to legal action" You must have permission ahead of time, or secure some type of clearance. I'd add be especially careful using Disney/Fox's IP - they are EXTREMELY litigious (and probably for good reason)

Just giving you a friendly heads up - I’ve checked with a big 850$/hr clearance attorney and I’m correct.

So I guess thats a no, well you are still treading on "his good will" without compensating him. I'd be careful legally

just curious if you pay any royalty to the maestro for using his (or the studio's) IP to make yourself $$?

well this is much closer to the Azkaban example than your quasi trills I don't really get the bombast argument, composers use bombast when they wish and don't use it also when they wish

I'm either giving you too much or too little respect this is what I'm talking about and I think you know it Shosty and JW do this, very few others scales are scales, they are meaningless and trite

Not exclus

Wikipedia on the 11th I invite anyone to watch the video i posted way above and offer a composer that time after time inspires more film music JW's main usage of winds is copied directly from Shosty - that running octave Similar with the low strings and huge string octaves its all there

you have chosen wisely Symphony 11 is a natural starting place for film music fans 7 for history buffs