Chris.Tilton

Well that pretty much settles who is scoring the show. Thanks Chris! The world of internet rumours is a thick brew which we obviously like to stir. Then again anything could happen!!!

Hmmm. I wasn't aware that I was married to Michael. In any case, it's just gonna be the same deal as Undercovers. MG scored the pilot a couple weeks ago and it was shown at ComicCon on Wednesday.

Having seen the film, I'd say your assessment of the score is spot on.

Well, that Williams edited the music and had pick up sessions is what I was told. Obviously, Bellis would have a better recollection of what happened, I suppose. The person who told me could have been mistaken on exactly how it was done. It was over 20 years ago after all. The most important thing though that I heard is that Williams is very protective of Star Wars and wishes to be involved or have approval in things relating to Star Wars. So, it's quite possible that Bellis did re-record a lot of Star Wars music for the ride, with Williams overseeing it in some way.

Like Star Tours II, Williams and his editor were in charge of all the ride music for the original. Bellis, like MG, only did the pre and post ride music. I was told they did have some recording sessions to help with transitions for the original ride. I'd imagine with software today, they didn't need to do that this time, and could solely rely on music editing for the ride.

All of the music that was recorded for Medal of Honor: Airborne is on the set. There is nothing left out.

i dont think they 'came up' with the synth beat. Williams knew what he wanted, he just needed someone to create and program it in the computer... By that logic, isn't that kind of like a composer saying "I know what I want, a big grandios, lush, fantasy score, I just need to hire this guy to create it for me."

Whenever I have bigger scoring sessions for Fringe, there are no violins, just Violas, Cellos, and Basses. This was also the case when Chad worked on the show. So, all the mid to high strings you hear on the Fringe soundtrack are Violas, if that helps you better understand the sound. But again, as several on this thread have said, the differences in actual timbre between the viola and violin are subtle. EDIT: I can't remember which ones at the moment, but Bernard Herrmann did a few scores with violas, cellos, basses and no violins as well.

What I heard him say is that he did a lot more than someone working on ,let say, a Williams score I don't understand what your issue is. This is not new. Gordon Goodwin arranged the end credits for The Incredibles. Tim Simonec arranged the end credits for Ratatouille. It seems like you are marginalizing all the hard work Michael put into this score because I arranged one piece of music using his thematic and instrumentation ideas that isn't even part of the film itself. It's the credits!

No, this was a specific occasion. He asked me if I'd want to write an arrangement of his themes for the End Credits. He basically sent me cues that had the themes he wanted to appear, we discussed the approach, and then I wrote it from scratch utilizing his thematic material, while also remaining true to the tone and instrumentation/orchestration of rest of his score for the film.

Glad to hear you say that. I arranged the end credits!

This is a bit off topic, but you could perhaps enlighten us with the correct pronunciation of "Giacchino?" Most people in interviews and everywhere else pronounce it "Gee-a-kee-no" but I think someone said in the official MG thread that that was wrong. "jah-KEE-no" or "juh-KEE-no"

Sigh...where have you gone, Chris Tilton of Filmtracks? I stabbed him in the eyes with a conductor's baton.

If you want to hear more Giacchino music then tune in tonight to the Disney animated special "Prep & Landing," on ABC. It's at 8:30/7:30central tonight. Spread the word if you can.

I'm not here to say my opinion counts for more than anyone else, as I don't think it does, but my comment about Zimmer is meant to be taken with a bit of jest. Isn't the smiley the universal symbol for "I'm kidding, don't take this comment too seriously?" Your comment on the other hand was a tad on the mean spirited side. Perhaps because you were angry at my comment about Zimmer and took it as me insulting him, and insinuating that I am better or more superior than he is. But let's clear the air right now. That was not my intent at all. Personally, I think I have quite a bit of stuff that doesn't sound like Michael, and perhaps a bit that does, but of course you are entitled to your opinion as much as the next guy. But also, doesn't everyone on here say that MG sounds like John Williams or John Barry pastiche anyway?

I'm not pandering, I like the track! And I enjoy the Pirates scores in all their ridiculousness. Well, the first not so much, mostly the 2nd and 3rd.

Nah, I actually like it. I like much of Zimmer and company's other stuff too in manageable doses.

It's kinda funny that if you replace all the fun little wacky instruments Zimmer is using in that cue with his normal Strings Power Chords and percussion, it would probably sound just like a typical Zimmer score.

The opening cue was completely replaced with the new opening, silence, and then the tracked music for Nero's arrival. That was the first cue (Narada Bing). Then it jumps into Narada Boom, the second cue, which, as far as I can tell, is in the film as it was written. It's an action cue and starts when Nero fires on the Kelvin and goes all the way until the Kelvin's captain is onboard the Narada. There may have been some slight edits since it was recorded, but I can't tell. Yep. But aren't missing much from the 2nd half of the Bones cue and the 1st half of the V2 Star Trek logo. The bones cue I think is just a build up of the main theme rhythm stuff which you hear many times in the film anyway, including the end credits. The logo is just some chords that build into that choir bit with the TOS fanfare notes.

I answered that in my original post, but I think I may have said it in a confusing manner. After watching the film last night, the first half of the Bones cue is what he originally wrote, then it segues into the latter part of the Star Trek logo cue for the second half.

The music that plays during Bones' introduction, and them flying off in the shuttle is what Michael recorded for the STAR TREK logo, which was replaced with Enterprising Young Men, as J.J. states. Though, I think the beginning of it is still the original cue he wrote, since the original opening (which in fact was the 2nd version) didn't have any of the underlying rhythmic elements, and then they just transitioned into the Star Trek logo cue. The very first version of the Star Trek logo actually had the main theme rhythm and then a quick loud statement of the main theme, but it wasn't as drawn out as the Enterprising Young Men version. I know, it's very confusing. The horn theme intro was recorded much later, because they had edited the film down (which made it better) in such a way that several moments of the main theme were removed, so Michael felt like there weren't enough statements early on to, what I presume, earn the moment they arrive at the Enterprise. The opening of the film is still the same, he just changed the music. The build towards the end of the opening contains elements from the original, which actually continued on over the ship and the arrival of Nero, which had a more creepy tone to it, than the big Nero theme that they tracked in later (which I think ended up working quite well).

I saw this posted over at FSM, and that fact that most of the Additional Music team has never worked with Zimmer before leads me to believe this is fake. I'll check the end credits of the game though and see if that's where this information was taken. Just checked them, it's there. Concerning the Nick Phoenix and Tom Bergerson credits, it's possible the Infinity Ward audio guys liked some of their trailer music tracks so much that they bought the license to use it (or them) for the game.

Physical CD releases and Digital Releases are separate licenses, and I am not sure what the difference in licensing fees are, if there is one. Well, James Horner frequently records in London, and when you do that, there are no AFM fees. You still have to make an agreement with the studio, however, sometimes the studio owns the label to begin with, so things are a lot cheaper. Horner also has the whole Titanic thing going for him, and having precedence with 70 min albums can be a good bargaining tool. Maybe he has stipulations of soundtrack releases in his contract.

That's not Paramount, that's the AFM reuse and licensing fees that cost so much. Also, SAG (for the lack of choir). It is totally dumb in my opinion. The soundtrack market is very small, and the cost of releasing soundtracks ridiculously high compared to the amount of people that are interested in buying them. That's a whole other debate though.

If you don't go the boob route, I think it looks more like a donut.