TheAvengerButton

I think it's easier--and better--to manually mess with the dynamics and expression tools and what not. I'll record a part straight through and go back later to "sculpt" on it. It takes a little more time but I can usually get a sound that satisfies me. Plus I have really shake-y hands and I find it easier to click and drag with the mouse as opposed to trying to use the right finger pressure on my knobs and faders.

I think overall it's a decent package. I don't know how much mileage you're going to get out of it to compose Star Wars-esque music, though. It's tempting because it was recorded at Abbey Road like the actual film scores, but it's not as comprehensive as you're probably going to need to get the sound you want. You'll have to supplement with other libraries at a certain point. However, it's still nice for some stuff. When you use virtual libraries, you'll want to compose to their strength.

Mcneely's material is Grade A wagyu beef. I think he has an ear for Williams' Indy stylings better than the Star Wars stuff that he did.

BBCSO sounds great overall, especially the strings and woodwinds. If you're playing softer stuff, then you'll be fine. But BBCSO's brass is lacking if you rrally want to give a piece punch. If you were trying to compose something like "Desert Chase" from Raiders then you're going to find the brass section lacking. If you're just doing an all-in-one library, I'd choose Nucleus over BBCSO. It is dynamically solid. You can do loud and punchy or soft and nice. Until I get my tax money in to buy my new stuff I've been mixing the softer BBCSO and the punchier Nucleus, to what

For those with any interest--and I'm sure the great lot of you are probably already aware--there exists four officially released soundtrack albums featuring a selection of pieces from the Young Indiana Jones series. Young Indiana Jones Amazon They aren't too hard to acquire used copies of these on Ebay if you're willing to shell out hard cash (or you can find them on Youtube, of course if you aren't clamboring for high quality).

I'm not who you asked, but I think that Cinematic Studio Strings is everyone's favored son right now. I'm going to acquire them myself in the near future, hopefully. Look up some videos on them if you haven't. My perfect library (for my tastes) would consist of Cinematic Studio Strings, Cinebrass, and Berlin Woodwinds as for percussion, I'm not sure, but I also don't use percussion often, and if I do it's not at the forefront of my works.

You may be right. I never played the games but I messed with the sound files some time ago (trying to get those YIJ tracks), and that's the only thing I can go off of at this point.

What I'm saying is I don't think David Whitaker composed original music as much as he was in charge of arranging already existing music from different sources into the game--I could be vastly mistaken but I'm not sure if he has a Composer credit or just a sort of Sound Design credit. Edit: unless I am misunderstanding something completely, that is.

If you're talking about the old Lego games from back in time, I'm pretty sure they used a lot of Young Indiana Jones stuff and material from the films. Also might have some of Clint's stuff thrown in as well from Emperor's Tomb. Speaking of, I need to add Clint's Emperor's Tomb and Haab's Staff of Kings to my list of video game soundtracks that I think deserve an official release along with KOTOR II and The Force Unleashed games.

Deadline -- 90's Action Piece A new piece that's inspired by '90s Mark Mancina, Jerry Goldsmith, and Brad Fiedel.

I don't think I necessarily need anything other than 16 bit FLAC, but if someone wanted to change my mind I'm all for it. 16 bit already sounds fantastic clarity-wise to me.

You know, I don't usually like the more modern synthetic meets live orchestra stuff but Ludwig's music for The Mandalorian has made me change my mind about it. That stuff he composed for the Dark Troopers hits so good. As for Gordy scoring Obi, I don't know. I kinda like the idea of the TV show scores being more eclectic and less traditional. That's a NEW tradition that goes back to Kiner's Clone Wars scores. I'd say let him in on one of the big movies instead of on TV. But who knows, if he ever does score a series he may end up putting his own spin on it as opposed to the usual st

I've been trying to figure out which tracks go with what missions. For some, they are fairly obvious but others I can't seem to match up. The track listing may be in chronological order by mission but I'm not entirely sure. I have a suspicion that the Bombing Run pieces tagged at the end of the album are for the multiplayer portion of the game.

Welcome to JWFan. If it's not Williams, it's ABSOLUTE GARBAGE. I kid, of course, but I am also taken aback by some of the weird elitist stuff I see people post regarding music on here. As for the comparisons, I think it's a fun discovery, but I'm not convinced that TROS was temped with Haab music. Oh, nad Haab definitely is a fine Star Wars composer.

Ah, that is great. This is exactly what I was looking for in a response. Modular is a fantastic word to describe the Sequel scores. Williams has several different tricks that he uses here and you broke it down exactly how I would have. Motivic, melodic (or thematic), and rhythmic. The Tension music you hear in some of the action scenes is very motivic. The Battle of Crait is reliant on a very rhythmic musical idea, as is Follow Me and the Falcon. He has so many different ways here of conposing action music that are a lot less uniform than his previous trilogy scores. And then you h