Datameister
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Posts posted by Datameister
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1 hour ago, Ollie said:
the chase thru courascant lacks any energy as a cue.
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That becomes more and more true with each passing trilogy. ANH and ESB introduce roughly the same number of themes … TPM has a more noticable edge over AOTC … and TFA introduces waaaaaaay more themes than TLJ.
On the topic of AOTC, I've never been able to understand how so many JW fans are so dismissive of the score. I love it. And the OST is the only one in the prequel trilogy that doesn't jump around in the film so wildly that it becomes a distraction.
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1 hour ago, InTheCity said:
Source was Sony scoring crews who were thereAwesome, thank you!
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Very cool video! Highly recommend that recording techniques book for anyone who wants to REALLY do a deep dive into this stuff.
The video mentions the synths being recorded via speakers on the scoring stage. What's your source on that? I've always wondered how Williams approaches that but never really dug into it much. I assumed that was not the case.
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I don't think you'll find many firm lines in this. But I would think that relevant questions include:
- How much of the person's time is spent thinking about the music/composer?
- Are they causing financial hardship for themselves or others?
- How's their social life?
- Is there any inappropriate, creepy, or illegal behavior involved?
- How do they feel and behave if they are forced to focus on other things for a while?
Ultimately, if you're not hurting anyone, I say go nuts. For myself, JW's work is one of a number of things I'm deeply interested in, but those interests haven't hurt me or anyone else. Sometimes I'll use the word "obsessed" to describe myself, but I think it's a healthy obsession.
- JTN and Mr. Hooper
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9 minutes ago, JTW said:
Tbh all lists are. Art and taste are highly
subjective things. What I love, you might hate and vice versa, but that wouldn’t make our tastes inadequate or wrong.
In my own personal Top 10 list there would be Band of Brothers, Mindhunter, Boardwalk Empire, Babylon Berlin (I know it’s not American), The Wire. I can’t even list 10 off the top of my head. Many I haven’t seen, e.g. Breaking Bad. It’s a matter of taste, there are stories one just isn’t interested in.
Oh, it's all subjective. When I say it's a shitty list, all I'm really saying is that it doesn't align with what I enjoy, but their opinion is still completely—
… ah, screw it, come on, Breaking Bad is objectively top 3 material!
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This list is shit. No offense to whoever put it together. But it's shit. Breaking Bad all the way down to 16? No Good Place, Lost, or The Office? The Americans near the top 10? I can't take that seriously.
- Edmilson and JNHFan2000
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3 hours ago, Tallguy said:
I mean, if anything of "Good guys and bad guys both trying to find a thing and bad guys trying to kill good guys" is just a remake of Star Wars. That seems pretty broad. I think people saying TFA is just a remake of Star Wars is pretty broad as well.
TFA in its entirety is not just a remake, but there are enough parts of it that are.
- Young rebel hero captured by baddie in a black mask in opening battle
- MacGuffin is a computer file sent by said hero into the desert in the memory banks of a cute, round droid that speaks in beeps and is briefly captured by small alien scavengers
- Baddies pursue said droid as it happens to fall into the hands of a young, parent-less nobody (who later turns out to be the Force-sensitive progeny of the big baddie)
- Droid and nobody narrowly escape the desert planet on the Falcon
- The masked baddie doesn't get along with his more straight-laced imperial co-baddies and regularly uses the Force to physically intimidate his subordinates
- The gang is threatened by tentacled, googly-eyed space monsters
- An old man provides wisdom, guidance, and sass
- Old man is lightsabered by the masked baddie (who betrayed him long ago) as the youths look on in horror inside a huge spherical battle station with a planet-killing weapon that threatens the rebel base's jungle planet in a ticking-clock third act wherein X-wings blow up said battle station by attacking its weak spot (after its power was put on display by destroying an important but hitherto-unseen good guy planet in the second act)
- There's a cantina scene somewhere in there
There's plenty of other stuff that's different, but when there's so much that's not, it's impossible to miss. And that's not even including the stuff borrowed from ESB, like the presence of a tiny wizened old alien mentor in the second act and the fact that the masked baddie communes with the big boss in a giant holo-chamber.
That being said, it's still my favorite of the sequels. There's a lot to enjoy, and it laid the groundwork for what could have been a really cool trilogy.
- Jay and GerateWohl
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Various flutes played with fast, breathy vibrato. Crops up in Horner's work. I've really been enjoying his oeuvre lately, but this is a sound that's always off-putting to me.
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I knew it was Star Wars
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Skywalker Saga, plus all JW recordings for Solo, Obi-Wan, and Galaxy's Edge. 21 discs. Every cue recorded. OT transferred from pristine newly discovered original elements.
It won't be. But god, could you imagine?
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2 hours ago, filmmusic said:
2 years later and I have to do a couple of midi mock ups, that's why I bump this thread again.
How exactly do you do that?
I have Cubase 12. Do you know where I should look at the manual?
Not sure for Cubase. In Reaper, each MIDI item has a Properties dialog where you can adjust the speed. So I just record to the normal metronome, playing half tempo. Then I adjust the recording's speed to 2.
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Good luck. Opinions vary. To me, it's pretty clear that JW wrote most or all of the genuinely new material.
- GerateWohl and bollemanneke
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Interesting to see how my answers have shifted (or not) over time.
My current top picks, just going off of the end credits themselves:
- ANH: Classic, giddy, and romantic. Perfection.
- ESB: Outstanding variations on the new themes for Yoda, Vader, and Han/Leia, all expertly woven together.
- TFA: Juggles a whopping 5 new themes without just rehashing the score.
In addition to simply being extraordinary music, these three are the most unique/indispensable compared to the other tracks on their albums. They're also some of the best musical summaries of their respective films/scores. But the others are all varying degrees of superb too.
TLJ comes in last.
EDIT: Oops, sorry, you were just asking about the first six films. I'm actually unsure what would come after ESB … at the moment I'm leaning toward TPM.
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12 hours ago, Chen G. said:
Yeoman's work!
Does this further our understanding of how the dynamic with Ross went? I mean, Williams could have quoted a piece from the first score verbatim just as much as Ross?
Meh, not really. The only way to know would be to see the sketches - and even then, those wouldn't necessarily reveal all the subtleties of the communication between the two men. Maybe it would help if someone discovered hidden camera footage of the entire composition process?
But no, I think we can be reasonably certain that the long green stretches were all JW. Meanwhile, the red and yellow passages were a mixture of JW and BR. The purple was probably more JW than BR.
11 hours ago, Jay said:What does the white part at the end of each track represent?
Silence, yep.
8 hours ago, Smeltington said:Fascinating! Would you consider sharing this with timestamps?
Why oh why couldn't there be a bunch of completely new tracks, and a bunch of completely rehashed tracks, so we could make a perfect edit of just the new material?? Almost every track is contaminated!
Meh, why not. Enjoy!
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For me:
- GOF = great waltzes and lighthearted cues; too melodramatic and strident otherwise
- OOTP = very pretty writing at times; action and suspense sound cheap
- HBP = like OOTP but sadder
- DH1 = awesome orchestration and recording; tunes aren't memorable
- DH2 = great reprise of "Leaving Hogwarts"
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Superman, E.T., and CE3K are all fantastic releases. E.T. is probably the least mind-blowing for me simply because previous releases were already so good, but I'm still glad I picked it up.
- Tallguy and OneBuckFilms
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I got curious how a visual breakdown of COS's original and less-than-original passages would look, and I came up with this image.
- Green (62%) = new material
- Yellow (9%) = transitions/adaptations
- Red (27%) = direct HP1 quotes
- Purple (2%) = adapted from other scores
This is based off of the score proper (no concert suites, tracked music, or alternates) as heard on the LLL set. My criteria were slightly different from Holko's. The "transitions/adaptations" category comprises passages where there's still a strong, clear, direct influence from HP1 material, but noticeable changes have been made - instruments added/changed/removed, chord progressions altered, tempo dramatically changed, new countermelodies, etc. It doesn't include new statements of HP1 themes - if it's a new variation, I've counted it as new.
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Glad the CD will be available for those who still want to buy it. I already bought a lossless download and won't double-dip. Sucks that things shook out this way; I would have preferred to buy it on CD from the start.
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11 hours ago, mrbellamy said:
Ross isn't even credited on the engraved orchestrations, right? I mean, we do have those from Pope and Karam, they look pretty normal and are credited to JW....idk what I'm missing there.
The mystery to me is how Ross's adaptation work manifested itself on paper. Like was he himself combining Williams' old and new material into a single combined sketch in his own pen that then went to the orchestrators? Or was he just giving them photocopied excerpts from the first score with instructions along with new JW sketches and they were the ones who had to make sense of it? Or some other process I can't think of.
For passages that were literally verbatim quotes, Ross probably would have just said C.S. [come sopra] HP1 5M2 mm. 5–21 or whatever. (Made-up example.) I suspect he would have completely re-sketched passages that involved any significant degree of alteration. And then new original material would be sketched by Williams. But yeah, Ross would have been the one sketching out the bits of connective tissue between quotes, with the orchestrators performing their usual duties on a JW score of the era: expanding and transposing the condensed notation into a neat, legible, standard full score, perhaps with occasional suggestions for different doublings or what have you.
Soundtracks, Compilations, or other recently purchased Music
in General Discussion
Posted
Arrived a while back, but I finally felt like I was in the right headspace to listen to the October Sky OST today. I'd only heard it in the film before. So moving.