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Erik Woods

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About Erik Woods

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    Kitchener, Ontario, Canada

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  1. IF THIS GOES AGAINST COMMUNITY RULES THEN PLEASE DELETE THIS POST! I saved this post for the very last day of voting so I didn't bombard this forum with spam for the past four weeks! CINEMATIC SOUND RADIO is eligible in two categories in the 2020 PODCAST AWARDS; Best Music Podcast & People's Choice. We've been nominated in the Music Category for two years straight only to come up empty-handed in the final vote. We'd love to have the opportunity to compete once again and in order to do so, CSR needs your vote. Nominations are tallied solely on user submissions... that means you! So, if you could kindling register and vote for CSR today, I would greatly appreciate it! It only takes 5 minutes of your time. And today is the LAST DAY to vote! Again, We are eligible in TWO categories. ✅MUSIC ✅PEOPLE'S CHOICE SIGN UP HERE ➡️ https://podcastawards.com/app/signup Thank you for your support! It really means a lot to us! -Erik-
  2. Just a reminder... 2020 PODCAST AWARDS I would love it if you could take 5 minutes to register and vote for CINEMATIC SOUND RADIO in the 2020 Podcast Awards. We are eligible in 2 categories. - MUSIC - PEOPLE'S CHOICE Go to https://podcastawards.com to register your vote for us! You have until July 31st to do so! Thanks in advance. NEW SHOWS FILMIC WITH LEY BRICKNELL - EPISODE 3 http://www.cinematicsound.net/filmic-with-ley-bricknell-episode-3/ On episode three of FILMIC here on CINEMATIC SOUND RADIO, host Ley Bricknell presents more new film and game soundtrack releases including Trolls World Tour (Shapiro), The Quarry (McIntosh), X4: Split Vendetta (Zakharov), Scoob (Holkenborg) and many more. Ley also shines the spotlight on composers Sid De La Cruz and Thomas Clay. You’ll also hear music from one of the most influential scores of the ’70s in the monthly ‘Vintage’ segment! SOUNDTRACK ALLEY: PREMIERE EPISODE – INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL http://www.cinematicsound.net/soundtrack-alley-premiere-episode-indiana-jones-and-the-kingdom-of-the-crystal-skull/ The long-running soundtrack podcast SOUNDTRACK ALLEY is now part of the CINEMATIC SOUND RADIO NETWORK. The first episode is a discussion between myself and Randy Andrews about the film and score to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL released in 2008. INTERVIEW WITH PENKA KOUNEVA http://www.cinematicsound.net/interview-with-penka-kouneva/ In June 2020, for the CINEMATIC SOUND RADIO NETWORK, Jason Drury spoke to Penka Kouneva via Zoom at her home in Los Angeles. During the show, they will talk about PANDORA, how Penka came to Hollywood under the wing of composer Patrick Williams and her work as an orchestrator and composer. Also, during the show, you will be hearing more music from PANDORA and other projects featuring the music of Penka Kourneva. THE ARCHIVE WITH JASON DRURY: EPISODE 23 – PART 2 http://www.cinematicsound.net/the-archive-with-jason-drury-episode-23-part-2/ On part two of episode 23 of THE ARCHIVE on the CINEMATIC SOUND RADIO NETWORK, host Jason Drury continues the music with selections from the Golden Globe-winning score to Ridley Scott’s GLADIATOR by Hans Zimmer and Lisa Gerrard. Notefornote Music’s newest release of REMO WILLIAMS: THE ADVENTURE BEGINS plays next with an original score by Craig Safan. An extended suite of music from Notefornote’s A BRIEF HISTORY OF TIME TRAVEL by Tracie Turnbell is featured before Jason ends the show is spectacular fashion with John Debney’s classic swashbuckling adventure score to CUTTHROAT ISLAND performed by the London Symphony Orchestra. COMPOSER CONVERSATIONS WITH DAVID COSCINA – EPISODE 3: THEODORE SHAPIRO http://www.cinematicsound.net/composer-conversations-with-david-coscina-episode-3-theodore-shapiro/ David Coscina chats with Theodore Shapiro about his most recent work, his approach and methodology to writing the score to 2018’s DESTROYER. Other topics include music technology, Shapiro’s compositional background and the impact of working from home during the pandemic. Enjoy! APPLE: https://apple.co/2YMYnMN SPOTIFY: https://spoti.fi/3bG9MQT Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
  3. Please stop. You're becoming rather insulting. This isn't fun.
  4. If you don't think I'm open minded then you really haven't been paying attention.
  5. That's fair enough, blondheim. We all have different opinions and thank you for expressing yours. At least I didn't call you an idiot! -Erik-
  6. I'm a big proponent of re-recordings so I appreciate different interpretations of film music. The sound quality is definitely incredible on this new recording and while I don't think the orchestra nailed every single piece, their interpretations of others ranged from very well done to exceptional. I don't disagree that Mutter is extremely talented. That's evidant, but there is something about her playing/technique that just doesn't gel with me. She's very jagged and harsh in her bowing and that produces a sound that sometimes calls negative attention to her and the piece overall. I guess I'm just so used to listen to Perlman, for instance, perform and record with Williams. I find he has a more restraint, passion and a gentler touch. Having ssaid that, I can't blame it all on Mutter as some of Williams arrangements seem overly busy and showy and don't necessarily do justice or complement the original work (ie - Harry Potter as you mentioned) Thanks for the thoughtful and polite discussion. Cheers, -Erik-
  7. No one said it had to be mathematically perfect but when the brass is playing the main melody to Star Wars a few notes behind everyone else it's noticeable and distracting. They are professional orchestra and to some considered one of the best in the world therefore the standards are high. Unfortunately, this sort of performance is below their standards. That a fair assessment and criticism. Yes, Williams can do whatever he wants with the tempo and my criticism wasn't with Williams' tempo... this time. My criticism is with the the orchestra being somewhat unfamiliar with Williams style of conducting, which is something that could have thrown off the orchestra. The Star Wars performance isn't the only performance with certain instruments coming in early, late, dragging, speeding up. -Erik- PS - Heres hoping that we can all be adults around here by refraining from childish insults just because you don't agree with someone else's opinion. Seriously, brow up! BTW, this wasn't aimed at you, Jackson.
  8. I'm finding some of the performances to be rather uneven, mostly timing issues, as it seems like the orchestra is having difficulty with Williams conducting style and keeping the correct tempo. There is no doubt they are an outstanding orchestra and the sound of the recording splended but I'm having a hard time agree with many of these "this is the best performance of *insert piece here*" that I'm reading in this thread. Also, I'm not a fan of Mutter AT ALL, therefore her performances are the most off putting aspect of this concert. -Erik-
  9. I'm watching the concert now and Johnny's face when the brass falls behind during Star Wars is PRICELESS!
  10. The reason TLC sounds so bad is because of one man... Dan Wallin. He's the only engineer I know of that can take 90 piece orchestra and make them sound like a high school band, and that's all because of the way he mixes his scores. He hard pans strings left and right and gives everything else the centre of the sound field, which opens up the strings but creates a messy, muddled sound for the rest. Just listen to other Wallin big scale scores like Might Morphin Power Rangers, and almost every Giacchino up to ST: Into Darkness. Having said that, Wallin did make a change in his mixing style for Joel McNeely on Iron Will. That score sounds wide, detailed, expansive and lush. Why? It's mixed in a more traditional way. Go ahead... listen to it. You'd never know it was a Wallin recording unless you saw the credits. There really isn't much any mastering engineer can do to fix a Wallin mix unless they some how get multi-track masters and completely change the stereo field. BTW, Shawn Murphy remixed The Last Crusade for the Concord release. There is a noticeable difference in clarity but the original sound stage was kept in tacked. AND there is no one that is going to attempt to change instrument placement without approvals from the composer AND the original mixer. -Erik- BTW, I have four pre-Wallin mixes of Steve Smith's original recording and mix of Chris Tilton's Mercenaries. If anyone has heard Giacchino's MOH and SWON scores knows the Steve Smith sound. It's very Eric Tomlinson. Well, Wallin remixed Smith's brilliant recording to "Wallin specifications". The score as heard on album sound dead compared to what Smith did.
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