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Shawn Murphy - The Good, the Bad and the Ugly


BurgaFlippinMan

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I hear so much about Shawn Murphy (or more precisely, the quality of his work) on this board, so lets categorize his work into 'good', 'bad' and 'ugly' shall we? I'm no audiophile, but I guess I can hear well enough to say Call of the Champions is postive 'ugly'. :thumbup:

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Here's just a handfull of selections.

GOOD

The Phantom Menace (UE)

Willow

Braveheart

Jurassic Park

Far & Away

The Lost World

AVERAGE

Titanic

Revenge Of The Sith

Jumanji

The Prisoner Of Azkaban

Clear & Present Danger

BAD

A.I.

Minority Report

Attack Of The Clones (just)

The Scorpion King

Saving Private Ryan

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Good:

any Newton-Howard Disney score ('Dinosaur'/'Atlantis'/'Treasure Planet')

most Horner scores prior to the split of the pair after 'Titanic'

Ugly:

A.I.

Minority Report

I can live with the rest, but these get the ears bleeding....5.1 recordings in 24 bit quality...and you long for the analog days of 'E.T.'

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Steef's list is good, though I'd call both RotS and PoA good, and AotC definately bad. I'd also add CoS to the bad list, Murphy managed to make the LSO sound nothing like the LSO.

John- who didn't know Murphy did Willow

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AotC has a lot of tape hiss (even though it's recorded digitally - huh?). I think it generally sounds dull and indistinct, as well.

Edit: Heh, very good, John. I'll justify this post by commenting that... um... yes, A.I. is bad.

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Apparently not... it's worst in "Anakin and Padme." There's no way you won't hear the hiss if you listen to it.

Yeah, beautiful track, but the hiss is so loud it's distracting. It doesn't help that I listen through headphones. I'm glad I'm not the only one to be bothered by this.

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(even though it's recorded digitally - huh?).
Shawn Murphy doesn't record digitally. He's still using analog tape, according to "Chris Malone: Recording the Star Wars Saga. A Musical Journey from Scoring Stage to DVD".

I used to describe Murphy recordings as having very muddy lows and mids, but acceptable highs. It wasn't until I discussed this with a sound engineer, who then pointed out to me that this description matches that of the Neumann M50 microphone: omni pattern at low and mid, but increasingly directional at higher frequencies --- giving a deliberately non-linear sound characteristic that some people (like me) loathe, while others are totally in love with it. He then suggested to me to find out what microphones Murphy uses. And indeed: According to "Music for the Menace", three Neumann M50s on his Decca Tree!

Another reason why I still wish Eric Tomlinson had recorded the prequel trilogy, even though some on this board may hate him as well. Was there already an "Eric Tomlinson - The Good, the Bad and the Ugly" thread? ;)

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OK, the guy we can blame for CoS is Simon Rhodes. My bad.

Rhodes is fine. Does a nice natural reverb on the Potter scores. I have a choral CD recorded by him (Bruckner's 3rd Mass and Te Deum) that's too reverby (hard to make out most details), but what else I've heard by him was very fine.

Botnick is great, but some of Iwataki's Goldenthal stuff, and some Sands (I think it was him who did Rosewood?) is even better.

Two more great Murphys: Hook and Summon the Heroes.

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Good:

Glory

The Rocketeer

Batman Returns

Nixon

Mission: Impossible

Psycho (1998).

Somehow I always thought Nixon sounded a tad flat. Am I the only one? Anyway of all the Murphy CDs I have, I have this huge affinity for Far and Away. I think it sounds glorious!

As for Botnick, I only have Batman and Hunchback of Notre Dame (wait, is Total Recall by him? That too if it is.). Are those considered good? I think Hunchback does have quite noticeble hiss in places.

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Another reason why I still wish Eric Tomlinson had recorded the prequel trilogy, even though some on this board may hate him as well. Was there already an "Eric Tomlinson - The Good, the Bad and the Ugly" thread? ;)

I love his recording of The Final Conflict. All round perfection.

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Seems Murphy's earlier projects with Williams were better, like Far and Away and Home Alone 2; the latter hasn't been mentioned but it sounds terrific. Things seemed to gradually get muddier through the mid 90's and I fear his remix of Star Wars on the musical journey DVD foreshadows things to come.

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Just listened to a few tracks from AotC. I've never heard so much hissing in a piece of music before icon_eek.gif, and I thought that the temporary hissing when the guitar comes in during the early parts of the End Credits from The Mexican, was bad.

Unfortunately, due to me having a decent set of headphones, a new 5.1 soundcard (an unbelievable improvement over onboard sound) and audiophiliac tendencies I notice this stuff easily.

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As for Botnick, I only have Batman and Hunchback of Notre Dame

Actually, Batman inlvolved the likes of Tomlinson (who recorded it); Murphy (who mixed it); and Botnick (who edited and mastered it for CD). I find that the CD sounds a tad bit bright though.

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What makes A.I. so horrible?

With an expensive set of AKG-headphones, you can hear the counterpoint in 'Abandoned in the Woods'. How this piece passed Williams and Murphy's quality control is beyond me.

The score is good enough in the string-only parts, but as soon as anything orchestrally more complex enters, it seems as if Murphy is trying to hide it. 'Minority Report' is the same...bass reigns...and drowns.

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It's hard to explain, but for that particular score, it's just right.

Like the music itself it's a turnaround from the brightness of the Jurassic Park score, it just works for me, it's got a bite.

Except for the End Credits though....

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Another one I have real problems with: Seven Years in Tibet. One of the first scores I know where Murphy's over-emphasis of bass sounds extends to the low strings. The grand main theme starts droning as soon as it picks up a little volume. A pity, I'd play at least parts of the score more frequently if it sounded better.

;) Westworld (James Newton Howard) (a fine Botnick mix)

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I have never understood why Murphy sucks with bass so much. Bruce Botnick's mixes exude power in low frequency as well, but they don't destroy everything else.

Westworld (James Newton Howard) (a fine Botnick mix)

Waterworld

music.gif Pursuit (Goldsmith, The Mummy Complete) The finest percussion mix by Botnick

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Dennis Sands is the best mixing engineer working in L.A today, imo. His work for Silvestri packs more punch than anything else out there. His brass always sounds fantastic. Shawn Murphy did great work on "Signs", though.

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Perhaps Newton-Howard will score the remake next year.

You know, at first I thought you were joking, perhaps being sarcastic about the current state of remakes

But just out of curiosity, I then looked it up, and there is indeed a remake...but hey by the same director... :music:

I've lost all faith in the film industry in America. LOL

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