redishere

It's so weird, I rewatched the whole saga recently and had a ton of fun, but when I watched the first movie I immediately noticed something going on in the music (between all the needledrops haha) He's mostly known as BT in the trance/electronic music scene, but he actually has a classical background, so I was very curious to hear his orchestral work for this!

Bryan Transeau (BT) - The Fast and the Furious - Complete Principal Score (2001) For such a testosterone-filled, goofy movie, the score multi-instrumentalist and DJ Bryan Transeau composed is oddly epic, atmospheric, with unsettling chord progressions and a 70-piece orchestra using wrecked car pieces as percussions. It's a shame the rest of the Fast Saga has such boring, copy-paste action movie soundtracks: this really surprised me.

Oh god yes. That would be amazing, and I have a feeling that not a lot of people would notice it's not written by good ol' JW, original themes flow so well into the ones Williams wrote, and vice versa.

Whoa, you did such an amazing job. I can't get enough of this, I can't wait to listen to the full album! I obviously already downloaded Goblet

Gosh it's been awhile since I logged in JWFan. Thanks to Covid, it's been a weird spooky season. But this helped. (I don't even know if the complete score is available anywhere)

49627311_2243434302601320_5414331263345491968_n.mp4 I was listening to the POA complete score today (for the billionth time), and I remembered when I saw HP3 live a while ago, in Milan. Shawm Confirmed :'(

Well I'm sure with a few tweaks and cool plugins results may be really satisfactory… the midi mockups they made already flow pretty well into the original cues!

1917, Thomas Newman. Saw the movie for the first time yesterday... Wow. Mendes, Deakins and Newman at the top of their game. I already gave the score a listen before, but it didn't stick with me: after watching the movie I fell in love with it. I rearranged all the Spotify tracks in chronological order, obviously.

That's great news! Even in mockup form, it's something I'd listen to with a smile on my face... it's a nice "what if" score! Would love to hear it with a less "midi" sound, but I imagine it would be quite hard to do even with fancy plugins. (well, if you're planning to record it with a real orchestra, I might faint)

Great stuff as always @Ravendor Studios, the frustrated Hermione motif works really well when she collapses on the stairs! As for the other HP movies, I've nothing against them: I'm just not a fan of Yates' direction, it feels a bit soulless to me, especially in the fifth. HP6 and 7.1 are on point though. Didn't like 7.2 that much when I first saw it, and I must admit I still feel a bit underwhelmed when I rewatch it. Speaking of the non-JW soundtracks, Doyle surely made the most memorable one; Hooper's Phoenix score to me is not that great, while I think the Half-Blood Prince one works pretty well. Hallows 1&2 have some nice stuff, but action-y ostinato-filled scores bore me. I like Desplat, but a lot of the magic is gone in the last movies: I get everything is dark and gloomy, but man, I still think there's a parallel universe in which JW score every HP movie and we're all holding a big-ass LLL boxset in our hands, so this Ravendor project for me is the best thing

This. Is. Perfect. I would love to watch the full movie with your music properly mixed in!

YES! Thank you! Every Ravendor Studios notification is a good notification

God I hope LLL will re-release this in a JW special edition

You're right! Can't wait to hear what you have in store!

I'm locked in my house as well, so these new cues are exactly what I needed! Would love to hear a real orchestra play what you composed, it's so good. I've noticed you didn't score the scene with Harry and Ron fighting: was this a deliberate choice?

I'm basically locked up in my house here in Italy because of the coronavirus, so I definitely need cheerful music: I recently listened to the original Toy Story album, and I loved it. My question is: what's the difference between that old version and the 2015 Legacy Edition? Apart from the additional demos, is it just the same as the original album but chronological and with separate cues, or does it have more material?

Sorry @bollemanneke, I forgot to clarify what was in the (pretty silly) screenshot Anyway, I've just recently listened to the full 25th anniversary release, and I'm not exactly sure what is missing from the presentation, but I must say I liked it a lot: everytime I listened to the OST tracklist I had to check if I accidentally put the same track on repeat.

I was watching the score reduction & analysis for We Slept In on YouTube. I'm actually disappointed this cue is not on the complete presentation.

Where exactly was it?

The Nightmare Before Christmas – Danny Elfman (25th Anniversary Complete Edition) Can't help it. I absolutely adore this one: it brings back tons of great memories from my childhood, plus DIES IRÆ OVERLOAD

Great one @Ravendor Studios! Loved the Double Trouble variation for the Weasley twins

I haven’t had a chance to listen to the latest cues, but I will do as soon as possible: this is a really interesting project, thanks for sharing! EDIT: Just listened to Cue 6-7-8-9, and I must say I really like what you're doing: the plotting motif is very fitting, and hearing "A Window To The Past" got me emotional, can't wait to hear what you have in store, @Ravendor Studios!

Contact (Complete) — Alan Silvestri One of my favorite movies: its score brings back so many memories, and makes me quite emotional.

Or an attorney defending a black man accused of rape in Maycomb Or a clothing brand founded by blink-182 bassist Mark Hoppus

Whoa, whoa, whoa. What’s all this Reznor/Ross hate? I’ve seen their TSN score compared to both the dullest Autopilot—VST–Zimmer, and to Joker’s score. The latter worked fine in the movie, but I wouldn’t say is that innovative. It’s surely most “memorable” than the one for Chernobyl (was there a soundtrack?), but I would never listen to more than one track. The only thing I get about the award is that it would be a cool thing for noise/drone/ambient/post-minimalism artists, so I don’t see it as a big scandal. As for Zimmer, I absolutely hate his copy-paste testosterone-filled digital ostinatos, and I hate them ‘cause I l know he could be better than that, but his most boring efforts have a way different flavor and intention than Hildur’s unsettling (albeit monotonous) cellos, or the signature Reznor/Ross atmospheres, and I don’t necessarily view them all as the cause of the Academy’s distaste for (good) orchestral music. The Social Network is one of my favorite scores (even if I think their best one is The Girl With The Dragon Tattoo), and I’ve wanted Reznor to score something since the first time I listened to NIN’s “Ghosts I-IV” so I’m probably biased as heck, but c’mon. If intricate and clever orchestration was the only parameter for the Academy Awards, they should be called the JW awards. As cliched as it may sound, simple doesn’t necessarily mean bad or dull. A score has to work well in the context of the movie: Joker does, even if I wouldn’t listen to it. I wouldn’t give it an award but I wouldn’t compare it to, let’s say, Dunkirk, which is definitely more uninspired, “safe” and generic than Joker, and closer to sound design. I’m sure The Social Network gets a lot of hate amongst orchestral purists, and it’s fine, but you can’t throw it in the same “generic RC-style sound design” thrashbin. TSN may not be neither as thematic as you wished nor intricately weaved, but it has recognizable melodies (the Hands Cover Bruise motif is undeniably effective and memorable imho), so I guess I’m a little bit triggered when I see it compared to a ticking clock dry-humping a bass boosted Shepard Tone or the same minor 3rd repeated for 2 hours.