Jump to content

Erik Woods

Members
  • Posts

    1,391
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by Erik Woods

  1. I'll try to make my mobile phone recording sound as good as possible! -Erik- PS - I will not be recording any of this on my phone! I'll let some one else do it. I'm just going to sit back and enjoy my first ever John Williams conducted concert!
  2. I don't think so. For instance, my local symphony orchestra, The Kitchener-Waterloo Symphony, is doing Back To The Future live to picture but they are also doing a regular film music concert earlier in their new season. And just down the street, The Toronto Symphony is doing Superman: The Movie live to picture but they are also producing a Music of Star Wars concert. -Erik-
  3. Wow! That's nuts. Ever since I started recording my show to minidisc from the board at C101.5FM, I made sure to keep all my original and RAW files. I know hard drive space was a bit more expensive back then, but I made sure to pay whatever I could to make sure I had a digital library of all my shows... just in case. -Erik- At least you've done your due diligence. A lot of podcasters don't. -Erik-
  4. Just to let you know that when someone "streams" your show, they are still downloading it into a cache on their computer/device so technically they are still downloading the show. Having said that, that stream of data doesn't stay on your device after the stream is done. But even if you download or stream, someone is still accessing that audio, which are governed by copyright rules/laws. Your show, as does mind, falls under a non-interactive license. "Non-interactive music streaming differs from on-demand, or interactive, streaming because it allows users to play music but does not allow them to select the song that plays next." Anyway, as you said, this is getting a bit off topic, but if you think you are safe just offering a stream instead of a download, you are gravely mistaken. Then again, someone coming after you is highly unlikely but there is still a chance and I hope that never happens. -Erik- Technically, no, at least I don't think so. If I wanted to make my show fully legal around the world, I would have to get licenses for every county I offer the show to... I think. I have looked into it but not as much as I did when I got my SOCAN license. But I do know that SOCAN has agreements with other international copyright and performing rights organizations around the world. This is something that I will be actively looking into some time in the future. -Erik-
  5. I pay a yearly podcast licensing fee to SOCAN. I also have agreements with the labels to play music from their catalogues just as long as I promote the label on the show when I play their stuff. Throughout my years of doing my show and podcasting, I've only had one take down notice and that was for a show that's not on my network but I do host on my server. My friend (who I share server space with) and I got a notice from a Bollywood label that asked for us to remove a show that contained music from their album. We did, and that was it. Could it have been worse? Probably, but we were professional about it and nothing else came from it. And if any other label, composer or whomever wants us to take something down, I will do so immediately, but since 2013, which is how long I've been streaming the show and making it available as a podcast, I've only had the one incident... and it wasn't even my show. -Erik-
  6. It doesn't matter if you play one second or three minutes of a clip; the moment you play music without authorization, you are technically violating copyright law. The same is true for streaming content, however playing a piece of music for 30 seconds or less does not constitute fair use. Now, fair use laws may be different in your country, so there may be 30 seconds or less fair use rules there, but once you offer the show outside of Norway, you must follow the standards of all of the countries to whom you are offering your show. -Erik-
  7. Unfortunately, I can't do that. The master is on a Sony BetaCam tape and I don't have a machine to play it back. I guess I could re-edit it one day. I have all of that footage lying around somewhere. -Erik-
  8. I know I'm late to the party on this post but, yeah, SWON is top tier Giacchino. It, along with his Medal of Honor scores, still remain his very best work, bar none! I had the great pleasure of being at the recording sessions and to hear "Peenemünde" live was something I'll never forget. I thought the entire orchestra was going to blow the roof off of the Bastyr Chapel. And yes, Giacchino purposefully re-purposed his Nazi theme from SWON into SUPER 8 because he liked it and wanted to use it again. And here is super low res version on my Main Theme music video that was part of the game and on the CD release.
  9. A COUPLE OF GOOD OLE' FASHIONED STYLED RADIO PROGRAMS FEATURING WILLIAMS TV MUSIC THE ARCHIVE WITH JASON DRURY: JOHN WILLIAMS TV MUSIC – PART 1 http://www.cinematicsound.net/the-archive-with-jason-drury-john-williams-tv-music-part-1/ Your host Jason Drury starts with selections from the first episode of AMAZING STORIES called GHOST TRAIN (Intrada Records). Jason then delves into the world of Irwin Allen, first with a suite of music from LOST IN SPACE (La La Land Records) and then from the pilot episode of THE TIME TUNNEL(La La Land Records), Jason continues part one of his tribute with music from the failed pilot for the series THE GHOSTBREAKER (FSM Records), before concluding part one with “The Olympic Spirit” composed for NBC’s coverage of the 1988 Seoul Summer Olympics (Sony Classical). THE ARCHIVE WITH JASON DRURY: JOHN WILLIAMS TV MUSIC – PART 2 http://www.cinematicsound.net/the-archive-with-jason-drury-john-williams-tv-music-part-2/ Part two begins with THE MISSION THEME FOR THE NBC NIGHTLY NEWS. Jason then plays selections from the episode “The Bronze Locust” from the 1963 TV series, THE ELEVENTH HOUR (FSM RECORDS). You’ll then hear a suite from the pilot episode of the classic Irwin Allen science-fiction TV series, LAND OF THE GIANTS called ‘The Crash’ (La La Land Records). The show continues with music from the 1968 TV film, HEIDI (Quartet Records). The episode concludes with music from the Steven Spielberg-directed episode of AMAZING STORIES called ‘The Mission’ (Intrada Records). Enjoy! -Erik-
  10. Fine... new recording of an existing score. -Erik-
  11. Because we don't have enough re-recordings for their own category, we place them in the ARCHIVAL section when we want to honour a re-recording but don't have enough to fill a category. I hope that makes sense. Re-recordings aren't as common as they once were for their own category, which is unfortunate because we would love to see more of them. -Erik-
  12. Yes, some of the classical music was being use diegetically, but there were key scenes where classical music was being use as dramatic underscoring, for the lack of a better word. Plus, you had Sammy's discovery of his mother infidelity, where music is being used both diagetically and non-diagetically. Bach's Concerto in D Minor is also playing as score during the scene where the mother is watching Sammy's film clips that captured her infidelity. PLUS, there are existing songs throughout the film as well (playing overtop filming sequences). All of those elements takes away from the dramatic impact of Williams' minimal score, which is really only felt during the last few moment of the movie, and most of his score is heard under the end credits. There have been less egregious examples where scores have been disqualified, but since this is John Williams, the Academy will move the goal posts. As for eligibility. The rules state that the score has to be 35% of the total music used in the film. I don't know what the exact number is for Williams' score but a composer can submit a letter to the Branch Executive Committee, stating reasons for the score to be accepted for consideration. Maybe Williams did this. But, we still have this rule in place... A score shall not be eligible if: 1. it has been diluted by the use of pre-existing music, or 2. it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer This, IMO, would make Williams score ineligible. -Erik-
  13. The Academy is bending their rules again. It's such a sham. Williams' score should have ben ineligible. -Erik-
  14. I can't be certain because I don't think there was any sort of sync set up during the recording session. There is no mention of a pilot tone on the picture inside the booklet of the notes on the outside of the reel. When comparing the '78 stereo track to this new transfer, you can hear (and see) various time fluctuations throughout the entire playing time of the first track. Sometimes one track is faster than the other but then then they sync up, then the other track is fast and then come back into sync. But what's clear is that the 2022 stereo transfer is longer. Annnnnnd, the bad edit in the SACD version of this album is pretty brutal. -Erik-
  15. So, I just listened to this and compared it to the original release. The stereo track is out of sync with the original '78 release but most won't notice the speed changes. But who knows which speed is right and were probably recorded without sync. But what's really glaring is when you compare the stereo track and the SACD track on this new release. There is an absolutely HORRIBLE edit in track one from the transition of the Blockage Runner section into the end titles. 2:18. I mean, it's REALLY clunky. It adds an (off) extra beat that shouldn't be there. It's really bad! So, I wouldn't listen to the SACD version, and even though there are some issues with the stereo track compared with the original release, most won't notice the speed issues. Stick with the stereo track. -Erik-
  16. CINEMATIC SOUND RADIO PRESENTS: SCORED TO DEATH RADIO: PROFONDO GOBLIN - A HISTORY FIND THE ENTIRE SERIES HERE: http://www.cinematicsound.net/tag/goblin-series/ In 1975, one of Italy’s biggest and most innovative filmmakers asked a group of unknown young musicians to record the score for his latest film and forever altered the course of film music. The filmmaker was Dario Argento, the film was DEEP RED [a.k.a. PROFONDO ROSSO], and the musicians were a progressive rock band named Goblin. Now, SCORED TO DEATH RADIO host & author J. Blake Fichera takes listeners on a detailed sonic journey through the music and history of one of Italy’s and film music’s most influential bands, with an epic multi-part podcast series about Goblin. PART 1 - THE SOUNDTRACKS 1975-1977 This debut episode explores the band’s humble beginnings—how they formed, how they got their name, how they came to work on film scores, etc.—and dives deep into their film and television soundtracks from 1975 through 1977—including DEEP RED and SUSPIRIA. PART 2 - THE SOUNDTRACKS 1978-1979 After finding success scoring, Dario Argento’s wildly popular Deep Red (aka Profondo Rosso) (1975) and Suspiria (1977), the previously unknown Italian progressive rock band Goblin were suddenly overnight rock stars, as well as in-demand film composers. On this episode of Scored to Death Radio, host [and author] J. Blake Fichera continues his detailed exploration into Goblin’s complicated history and their extensive TV & film work—this time focusing on the years 1978 and 1979. PART 3 - THE SOUNDTRACKS 1980-2001 On this episode of Scored to Death Radio, host [and author] J. Blake Fichera continues his detailed exploration into Goblin’s complicated history and their extensive TV & film work—this time focusing on the years 1980 through 2001, and playing selections from their scores for Tenebre, Phenomena, The Church, and more. PART 4 - WILD SESSIONS On this episode of Scored to Death Radio, host (and author) J. Blake Fichera continues his detailed exploration into Goblin’s history and work with a deep dive into the band’s studio work as some of the Italian soundtrack industry’s top session players—featuring music composed by Enrico Simonetti, Riz Ortolani, Pippo Caruso, & more. PART 5 - MORE WILD SESSIONS On this episode of Scored to Death Radio, host (and author) J. Blake Fichera continues his detailed exploration into Goblin’s history and work with another deep dive into the band’s studio work as some of the Italian soundtrack industry’s top session players—featuring music composed by Stelvio Cipriani, Fabio Frizzi, & more. Don’t forget to purchase your very own copies of J.Blake Fichera’s SCORED TO DEATH books by visiting http://www.scoredtodeath.com Cheers, -Erik-
  17. Because Tommy Pearson was interviewing him... you know, some one how knows how to actually ask good questions. -Erik-
  18. NEW EPISODE THE ESSENTIAL SOUNDTRACKS - THE LAST STARFIGHTER http://www.cinematicsound.net/the-essential-soundtracks-the-last-starfighter/ SOUNDTRACK ALLEY has become THE ESSENTIAL SOUNDTRACKS! Two years ago this month, host and producer Randy Andrews brought his film music podcast SOUNDTRACK ALLEY to the CINEMATIC SOUND RADIO PODCAST. We’ve enjoyed the partnership immensely and his show has brought a new dimension to the podcast in the form of long-formed reviews and analyses of soundtracks. However, we felt the need to separate our version of the show from the version that he still produces on his own under the SOUNDTRACK ALLEY moniker. Therefore, all SOUNDTRACK ALLEY episodes produced expressly for CINEMATIC SOUND RADIO will now be known as THE ESSENTIAL SOUNDTRACKS. The format of the show won’t change. It will always remain a deep dive review into some of the best soundtracks of all time… scores that everyone should have in their collections… THE ESSENTIAL SOUNDTRACKS. On this premiere episode of the newly rebranded THE ESSENTIAL SOUNDTRACKS, host Randy Andrews and Erik Woods talk about the film and score to the 1984 Nick Castle-directed sci-fi/fantasy/adventure film, THE LAST STARFIGHTER, starring Lance Guest, Robert Preston, Dan O’Herlihy, Catherine Mary Stewart, Norman Snow, and Kay E. Kuter. The film tells the story of Alex Rogan, a teenager recruited by an alien defence force to fight in an interstellar war. Randy and Erik also detail the numerous themes in the score, the recording of the soundtrack, the composition and form of the action material, and the heart behind the music, especially the finale cue “Into The Starscape” The original score for the film was composed by Craig Safan and was recorded by Lyle Burbridge in Los Angeles. The original soundtrack recording was originally released on Southern Cross Records both on CD and LP in 1987. Intrada Records expanded the album both in 1995 and 2015. Earlier this year, Intrada released the definitive release of the score featuring the same program as the 2015 version but with greatly improved sound quality. You can buy that version of the album by going to https://store.intrada.com/s.nl/it.A/id.12634/.f Thanks to Jason Drury and Tim Burden for their assistance. And a big thanks to Intrada’s own Roger Feigelson for providing the updated album to play on this show for you. The Essential Soundtracks Theme by Alexander Schiebel
  19. Jason is talking a bit of a break. He does have an ARCHIVE episode coming out soon but he's taking some time off podcasting during the summer to concentrate on himself. Everything is good, but he just needs some time off. -Erik-
  20. NEW EPISODE THE FLAGSHIP SHOW: NATIONAL FILM SCORE DAY 2022 – RANDOM TRACKS http://www.cinematicsound.net/the-flag-ship-show-national-film-score-day-2022-random-tracks/ Happy National Film Score Day! National Film Score Day was created on April 3rd, 2018 by Jeffrey D. Kern of the defunct internet film music radio station MOVIE SCORES AND MORE RADIO, and is officially recognized by the National Day Calendar. National Film Score Day “was created to celebrate film scores and the talented composers that compose those musical masterworks called film scores!” Jeffery was interviewed last week about the holiday on the Celebration Voices Podcast. We’ve only officially celebrated National Film Score Day here at CINEMATIC SOUND RADIO once, but I would like for it to be something we celebrate every April 3rd. We commemorated National Film Score Day with 12 tracks chosen at random on today’s special broadcast. I didn’t know what I wanted to do to celebrate the occasion, so I decided to do my best to incorporate the number 4 into the festivities, as today is the 4th anniversary of the event! I went into my digital library and made a smart playlist to collect all of the 4-minute cues in my collection. Everything was reduced to 760 as a result of this. I didn’t want to waste an entire day trying to choose 12 tracks from that list, so I went to random.org and had them choose the cues for me. Each track was assigned a number and the playlist was arranged alphabetically by title. After that, I began recording and did the random draw “live” therefore I had no idea what I was going to play. This was a lot of fun and I hope to do something like this again in the near future. See the entire playlist on our webpage. Thanks again to Jeffrey D. Kern for creating this day in celebration of the art form we all love! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio
  21. NEW EPISODE THE FLAGSHIP SHOW: THE OSCARS SUCK! OR ERIK’S FAVOURITE SCORES OF 2021 – PART 2 http://www.cinematicsound.net/the-flag-ship-show-the-oscars-suck-or-eriks-favourite-scores-of-2021-part-2/ The Oscars still suck but my list of favourite scores of 2021 doesn't. Enjoy, and stay until the end to hear my single favourite score of 2021. Enjoy! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio
  22. NEW EPISODE THE FLAGSHIP SHOW: THE OSCARS SUCK! OR ERIK’S FAVOURITE SCORES OF 2021 – PART 1 http://www.cinematicsound.net/the-flag-ship-show-the-oscars-suck-or-eriks-favourite-scores-of-2021-part-1/ Today, I'm going to talk about why I'm boycotting the Oscars. I'm also discussing & playing my favourite 2021 scores for you. How about that? Enjoy! LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio
  23. NEW EPISODE SCORED TO DEATH RADIO: PROFONDO GOBLIN: A HISTORY, PART 1 – THE SOUNDTRACKS 1975-1977 http://www.cinematicsound.net/scored-to-death-radio-profondo-goblin-a-history-part-1-the-soundtracks-1975-1977/ In 1975, one of Italy’s biggest and most innovative filmmakers asked a group of unknown young musicians to record the score for his latest film and forever altered the course of film music. The filmmaker was Dario Argento, the film was DEEP RED [a.k.a. PROFONDO ROSSO], and the musicians were a progressive rock band named Goblin. Now, SCORED TO DEATH RADIO host & author J. Blake Fichera takes listeners on a detailed sonic journey through the music and history of one of Italy’s and film music’s most influential bands, with an epic multi-part podcast series about Goblin. This debut episode explores the band’s humble beginnings—how they formed, how they got their name, how they came to work on film scores, etc.—and dives deep into their film and television soundtracks from 1975 through 1977—including DEEP RED and SUSPIRIA. So, pull up a seat, and get comfy with a glass of J&B because SCORED TO DEATH RADIO is setting sail on a fantastic voyage into 1970s Italy with the band Goblin. Don’t forget to purchase your very own copies of J. Blake Fichera’s SCORED TO DEATH books by visiting http://www.scoredtodeath.com ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.