Nick Parker

I'm sure there are other members that will have scores of information to bequeath upon you, but I just want to say: Congratulations, Tim! That's such an awesome opportunity!

Redemption is cool, I just don't know how it'll play to a newcomer. I like Guinan, but Time's Arrow is pretty goofy. Descent is just weird.

I'd stay away from those, and would be iffy on Redemption, too.

Ohhhh that! Yeah, that's a synth.

Could you give a timestamp? I don't think I'm thinking of the music you're describing.

If it's what I'm thinking, then no, it's strings. Return of the Jedi has some prominent synth uses, most notably in the Jabba stuff. It makes sense as digital synths with more polyphony and "cleaner" timbres developed that Williams used them more and more as time progressed.

It's chill inducing!

Right, that does seem likely in the scenario you described. I'm not too familiar with those cues, or how(/if) they've been taken out of the film.

Are these samples not present in the standalone score?

The point isn't the intrinsic presence of an electronic element, it's the effect they're used for and achieve. In both the Original Trilogy and the Prequel Trilogy, synths were given at times a place of prominence to produce a sound very unique--particularly in the later, as technology could more easily produce the timbres and harmonies an advanced composer such as Williams is wont to use. Looking at Williams' oeuvre, most of his output of the last several decades feature electronics in the coloring capacity you describe, but again, this is not the point that has been made in this thread. The only example I can think of from immediate memory in the sequels where electronics were given something of a prominent, conspicuous role, is the harp/pad moment in the cue when Rey eats her instant Pilsbury.

If I'm seeing those photos correctly, that's the Nord Stage, which isn't exactly renowned for its heavy duty synth functions. Given the connections to the computer, it might also have been used primarily to trigger sounds on the Mac--as Falstaft says, probably things such as celeste samples.

So nice, we see it twice!

See, you can tell with the counter point section.

Oldie but goodie...those augmented portamento chords at the beginning with the four on the floor

Happy to help, dear KK! The reason I asked about the MIDI controller is because as you might have noticed, Korg sells two versions of the XD: with a keybed, and a keyboard-less module. Functionally, they are the exact same, but the module version is cheaper by about $100 USD. They're both pretty compact...the keys are pretty damn skinny, which for my live performances have been...mixed results (doing a lot of more intricate playing and improvising), but it is nice when you just want to be able to trigger sounds without having to hook up the MIDI controller.

Funny, I was actually teaching a synthesis 101 lesson last night using the XD. If that's what you're looking for, and don't mind the limitations of 4 voices of polyphony, then it's hard to recommend a synth as highly as I can the Minilogue XD. Do you have a MIDI controller you like?

Love it love it love it! It's not the most complex piece of kit out there, but what you get, especially for the price, is incredible. I say it's one of the friendliest synths ever made, Korg did a hell of a job designing the interface...further more, it has an open source oscillator and effects section that people have been doing nuts stuff with, like a waveform that expands its polyphony from 4 to 8-12! The XD is the synth equivalent of Data from Star Trek, designed to exceed its original programming. What exactly are you looking for, though, KK, function wise? Knowing that would help me answer if it's right for you.

I always liked the SHINRA music, glad they kept the depth of the bass in that one. Heeheehee, I wonder what film score cue inspired this, especially later in the track?

Yes!

My introduction to Star Trek was relatively late compared to many of you. A friend introduced me to Next Generation in 2013, and my memories of starting the show as an adult are pretty fresh. I watched each episode with excitement and anticipation. Why? It wasn't because each episode was a masterwork of storytelling and philosophy...no, it was the opposite in many cases. I kept watching because I kept seeing potential in the characters and ideas; in other words, the show earnt my trust, propelling me until I got to the really good stuff that happened later. This show has earnt my trust.

The finale is what cemented the themes in Star Trek. I love, love, love the moment when Soji explains their rationale for exterminating all organic life as aesult of having no choice, and Picard gives a classic Picard response: "To say you have no choice is a failure of imagination."

"For Gillian" from The Fury. For such a brooding and conspiratorial score, it's one of the most carefree and exuberant tracks he's ever written.

One of my favorite movies!

Remember, Williams is a genius, and working with Williams the lifelong dream and highlight of his entire filmmaking career!

Kondo.