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Doug Adams

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Doug Adams last won the day on October 19 2016

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  1. The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten.
  2. It's still better than this laughably awful screed: https://www.splicetoday.com/music/the-australo-hungarian-empire-strikes-back It's a masterpiece of how not to write about music. Or anything.
  3. My midwestern guilt makes me feel like I'm being meaner than I probably am. At least I hope that's the case. I once attended an orchestra's first rehearsal where they decided to start with the Shire music. About 5 seconds after their first note, I started hollering: "Stop, stop, stop! Basses are supposed to be half pizz. half arco, not all arco!" The conductor (not Ludwig) responded, "I checked the recording and didn't hear that." I told him to go check again. Somebody dubbed me the Niles Crane of film music for the remainder of that week. I don't think they meant it flatteringly.
  4. It's not that they don't know of the use of that term, but many aren't familiar with the Rings scores per se, so they have to guess at what's being called for. Fortunately, as performances circulate more and more, these scores are becoming part of the modern repertoire, and so percussionists are better prepared. Size is left to the performers. It's not specified. But I've never seen drums larger than 16 inches being used, I don't think.
  5. The passage you're referring to has four side drums* and timpani. No taiko. *The term "side drum" can direct percussions toward a number of different instruments. It's a sort of fuzzy term that requires a knowledge of a composer's intentions. Shore's concept is of a deep drum -- a field drum -- with no snares. That last bit throws a lot of orchestras off. I've seen Howard ask percussionists to please the snares off, I've seen Ludwig Wicki ask it, and I've asked it. Howard and Ludwig tend to be nicer about it than I am. But I'm usually the most jet-lagged of the three of us.
  6. That's the last time I get my insider news from Harry Potter fan sites!
  7. Smaug the Magnificent and Smaug the Terrible begin as near-retrogrades of one another.* But major record labels don't love if if you use the word "retrograde" in mass-marketed commercial products. Can't imagine why ... *Speaking here of pitch content. Probably obviously.
  8. Most of these instruments (dizzy, shakuhachi, hecklephone (bass oboe), and tamboura) tend to double the melodic line in Smaug's two principal themes ... so they're a little tough to point out individually in a recording ... especially in the film mix. The finger cymbals (which are meant to evoke a sort of Chinese parade procession -- or Indonesian ceng ceng cymbals -- and, of course, Smaug's golden coins) are a bit easier to spot. I'll have to think on the waterphone. I believe it's easiest to find not in the score, per se, but in some wild takes that are used to evok
  9. We start at the beginning, and make a few references to sync points throughout. But really, I don't think we line up anything all that tightly anyway. It should work fine as long as you're close. Thanks for the kind comments, everyone. Part two this coming week. D
  10. I would think so. The One Ring people tend to archive everything. Unless there’s a copyright issue with the film audio. I still haven’t been told how we’re handling that. ... Also not sure if this is video or audio. I haven’t had a haircut since February, so I’m slightly concerned!
  11. I'm not planning to read the book out loud. (The book is too long, and my voice is too annoying!) Rather, I'm hoping to set the stage for why such a book would be interesting to people. Back on LOTR, I had time to run a blog to help with such things. These days, I have far less free time. Stupid adulthood! Regardless, I'll try to drop in plenty that people don't already know.
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