Loert

Wait a second...have you done any of your own homework?  How many thesis' are you doing or is each new one because you failed the prior one??  Hahahaha
 

Nice pics, it seems we can see your dick in the shadow.

Beautiful.

Was watching a rerun of The Price Is Right from 1982 and one of the prizes was a trip to Broadway to see Fiddler on the Roof, and one of "Barker's Beauties" was holding Williams' soundtrack album as the music played. That was definitely random and unexpected. lol

I am a huge fan of sequencers and loops and stuff, but it needs to be done right. Like Berlin School sequencers (Tangerine Dream and such), various EDM artists and things like that. Or funky synthwave things, using Roland T-808, the Linndrum or other vintage drum machines. The Remote Control/trailer music ostinato thing, which I'm guessing is what you're referring to, is very uninteresting.
 
There isn't really any one element that I dislike in music; it all depends on how it's being used. Even bag pipes.

https://filmconcertslive.com/movies/fiddler-on-the-roof-the-film-with-orchestra/

Typical orchestra is 80-100 individual players, separated to instrument groups that further play divisi (Flutes 1,2,3, Oboes 1,2,3, etc.), so that's 40-45 tracks of music right there. Each of them may have multiple articulations that I'm also separating to different tracks (I don't like using keyswitches), so before you know it, you'll have hundreds of them.
 
There are composers out there that have more than a thousand tracks in their templates, so a few hundred isn't really that much.
 

ASIO interface is fast enough on a modern computer to allow real-time live playing on the keyboard (latency ~2 to 5ms).
 
I made a few mockups of JW's music, and the tracks are typically played in live in real time on the keyboard, one-by-one. Some faster parts might be sequenced if they're unplayable or precision is needed, but usually not.
 
I typically load the reference track and make a tempo map before I start recording anything, and sometimes I play an instrument against the reference track to get a correct feel and when other tracks haven't been recorded yet. Mod wheel is used for dynamics and not too much post-editing is needed. If anything needs to be changed, I usually just re-record the part until I get it right.
 
Due to the number of articulations and the size of the orchestra, it does take a long time to get good results. Too long for me to crank these out on a regular basis. The Speeder Chase track below uses something like 250 tracks and took weeks (not full time of course).
 
Enjoy!
 
 
 
 

STARGATE (David Arnold)
PAN (John Powell)
CHICKEN RUN (John Powell/Harry Gregson-Williams)
KING KONG (Max Steiner)
IT'S A MAD MAD MAD MAD WORLD (Ernest Gold)
THE MUMMY (Jerry Goldsmith)
REBEL WITHOUT A CAUSE (Leonard Rosenman)
 
And..obviously anything John Williams.

For anyone interested/hasn't seen it yet, here is the Beacon article @Thor was referring to. 
 

 
 

If godfather means writing a ton of dull music that might have inspired someone else down the line to do a better job for film, yes.

Taika Waititi + John Powell would blend very well. They seem to have the same sense of humour.

Thank god, I thought I was the only one!
 
I do like the scores to some degree (they set the tone very well at least), but to say that they are the greatest film scores in history just seems insane to me.
 
I actually get more enjoyment from Se7en, which just sounds more unusual and interesting to me.
 
I disagree about HZ though...perhaps his more recent work is a bit overrated but still I wouldn't hesitate in calling him a genius.

This went from a thread about hiding tastes to an exemplification of why sometimes we hide our tastes.

Watched Godzilla again - what a fantastic score. SO fucking lively and massive. The melodies are exquisite and the orchestral dynamics wonderful, Who the fuck ever thought this was a lesser work? It sounds like Arnold is Mahler riding on Herrmann - just great. The finale especially is so impressive as a composition
 
 

The second cd I ever bought was the soundtrack to Independence Day. I’ll always have a soft spot for David Arnold, even if I haven’t been thrilled with where his sound has gone.  

I'm listening to Arnold's Zilla score now thanks to @thestat's post, and not only it's great but also it's so much fun! I miss the times when action blockbusters had fun scores like this. Since Bourne/Batman Begins, most music for Hollywood action movies is of the "dark and disturbing" brand.

I would like to jump on this Shore is overrated bandwagon

I don't think I've ever actively hidden my interest in film scores. In fact I feel like life would be easier if people didn't hide (parts of) themselves behind facades all the time. My best friend is into metal, but we get along nevertheless and often talk about our respective interests.

Yes I’ve always hid it. I relate to this thread a lot tbh. Part of the reason I joined this forum is because there’s no one in my life who I can talk to about the intricacies of film scores with. I enjoy mainstream music as well but film scores are bar and none my favorite.

Hey, look at this old thread. 
 
I can't stand Giacchino, Desplat, or Zimmer, but Howard Shore has the biggest disparity, for me, between the praise he gets vs the actual quality of the music. Minutes upon minutes go by in LotR without anything interesting happening, and he has entire scores that are comprised of nothing but the boring underscore in those films. I think it's easy to get distracted by the 18 french horns in the Minas Tirith cue, or the beautiful solo voices and choirs, and not notice that very little is happening musically. 
 
I will now turn in my film score fanclub I.D. card and membership kit.

Honestly the more I play it the more it feels like a nostalgia trip every time and I can’t help but love it. Brings back good memories. Also the story gets decently interesting at a point.