Did Hans Zimmer....

[publicist 4,643]

I don't agree with your assessment - I think INCEPTION, to use that as an example, adds a depth to the film that sucks you into the dreamscape. I'm not necessarily talking about intellectual depth, but visceral depth. Those deep chords, almost mythic in scope, and the incessant quality of the beats gives the film far more credence and presence than it would otherwise have. It's a masterpiece score, IMO.

What Zimmer does here isn't innovate - if you're into videogames at all, it's easier to see the connection. It's scored and like a video game (Mass Effect et al) and i presume that this is done to satisfy the young male target group.

BUT

does this argument really count if i name 40 others of those overscored monsters? Are they all 'viscerally deeper'? I don't think so. They are just badly spotted and the music mostly loses its impact by being layed on like a thick molasse (apart from being frustratingly similar). But following those discussions at FSM, i know you will rabidly disagree with every single point against any Zimmer, because it would make your broad reasoning a bit rusty.

[A24 4,326]

It's simple, if people would ask me to do a score a la Zimmer, I would say, sure, no problem. If people would ask me to do a score a la Williams, I would say, you better find a real composer.

Alex

[BLUMENKOHL 1,068]

But no one asks you to write a score for them so moot point, eh?

[A24 4,326]

It's a very good point and one most composers will understand.

[Unlucky Bastard 7,782]

Hypothetically.

[A24 4,326]

Just ask them.

[Thor 7,465]

I don't agree with your assessment - I think INCEPTION, to use that as an example, adds a depth to the film that sucks you into the dreamscape. I'm not necessarily talking about intellectual depth, but visceral depth. Those deep chords, almost mythic in scope, and the incessant quality of the beats gives the film far more credence and presence than it would otherwise have. It's a masterpiece score, IMO.

What Zimmer does here isn't innovate - if you're into videogames at all, it's easier to see the connection. It's scored and like a video game (Mass Effect et al) and i presume that this is done to satisfy the young male target group.

BUT

does this argument really count if i name 40 others of those overscored monsters? Are they all 'viscerally deeper'? I don't think so. They are just badly spotted and the music mostly loses its impact by being layed on like a thick molasse (apart from being frustratingly similar). But following those discussions at FSM, i know you will rabidly disagree with every single point against any Zimmer, because it would make your broad reasoning a bit rusty.

I actually welcome any specific criticism of particular aspects of Zimmer's sound, which I felt you did. So kudos to you for that (and for avoiding the broad generalizations & cheap shots).

We could talk about INCEPTION all day long...here's an article I wrote (in Norwegian) a few months ago:

http://montages.no/2010/07/inception-hans-zimmers-nye-lydbilde/

You can use Google Translate if you want to get the gist of it.

Suffice to say, what you see as "thick molasse", I see as a way to give the film an aural, three-dimensional aspect. The depth of the music connotes the depth of the dream states they're entering - ominous, yet hypnotizing and beautiful. It's not really narrative filmscoring in a traditional sense...more like providing ambiance that nails the particular universe. Not that unlike Vangelis' BLADE RUNNER (the track "Old Souls" definitely has Vangelis all over it), Clint Mansell's MOON or Mark Isham's CRASH.

[Quintus 5,399]

Sorry Thor, I thought the Inception score was horrible. Just really derivative and terribly vulgar stuff, it felt like being stamped on the head by Zimmer's size 10s. Mind you, I hated the film as well.

[publicist 4,643]

Suffice to say, what you see as "thick molasse", I see as a way to give the film an aural, three-dimensional aspect. The depth of the music connotes the depth of the dream states they're entering - ominous, yet hypnotizing and beautiful. It's not really narrative filmscoring in a traditional sense...more like providing ambiance that nails the particular universe. Not that unlike Vangelis' BLADE RUNNER (the track "Old Souls" definitely has Vangelis all over it), Clint Mansell's MOON or Mark Isham's CRASH.

I'll read your article in time, but once again, you're referring to INCEPTION, whereas i pointed to dozenloads of Zimmerscores which even by most generous standards do nothing to enhance their films as you describe.

It really doesn't matter that the idiom may be rock/symphonic, since those scores aren't consisting of power anthems, but a lot of underscore between. And this stuff is the problem: Zimmer (and the slaves) have seldom made a valuable contribution to the concept of, say, suspense music or dialogue scoring but the bulk of their scores consists of this stuff.

Zimmer writes great oncept albums (say DA VINCI CODE), but if you listen to this in the film, it becomes numbing. There is too much music and to little of it really has to say something.

[Thor 7,465]

Sorry Thor, I thought the Inception score was horrible. Just really derivative and terribly vulgar stuff, it felt like being stamped on the head by Zimmer's size 10s. Mind you, I hated the film as well.

That's fine. To each their own.

[Quintus 5,399]

Indeed

[Thor 7,465]

I'll read your article in time, but once again, you're referring to INCEPTION, whereas i pointed to dozenloads of Zimmerscores which even by most generous standards do nothing to enhance their films as you describe.

Well, it would be more fruitful to talk about specific examples or specific aspects of sound - which you did earlier on.

It really doesn't matter that the idiom may be rock/symphonic, since those scores aren't consisting of power anthems, but a lot of underscore between. And this stuff is the problem: Zimmer (and the slaves) have seldom made a valuable contribution to the concept of, say, suspense music or dialogue scoring but the bulk of their scores consists of this stuff.

The power anthem style not only applies to the theme, but to the whole score. It's a general APPROACH. If you don't like it, that's fine, but I can't remember seeing a film with that sound where it was somehow out-of-place. Quite the contrary, it always answers to the specific style of the film as a whole. I think there should be room for this kind of Jerry Bruckheimer-type aesthetic alongside other expressions (even though Zimmer himself has mostly moved on).

As for valuable contributions, I would say there have been plenty. John Powell, for example, one of Zimmer's students, did himself become highly influential when he launched the socalled "Bourne riff" - the thugging, steady beat with slight harmonic variations on top. Heck, it even seeped into Zimmer's own INCEPTION. Of course, it's been over-used since then (sometimes even laughably so, like Geoff Zanelli's HITMAN) but it was definitely a breath of fresh air in action/suspense writing when it came out.

[Quintus 5,399]

Well that's the problem with that breed of music isn't it - it's never long till it becomes and indeed feels "overused". The net result being that it gives the impression of being manufactured, which, no matter which way you wash it, is never a good thing.

[publicist 4,643]

That's a bit rich, to suggest Powell, who is noted for his departure from MV-style since the late 90s, as an example for this kind of music.

But this again leads nowhere. You have this rather american trait to brush with very broad strokes without ever giving up an inch of your position, which in this case means that every MV/RC/ZImmer score does exactly what it should via your strict Hobgoodian definition what this is and anyone challenging that, be it sarcastic, specific or whatever, gets the same pat on the back. It really would be more honest just to say 'but i like it'...

[Quintus 5,399]

I'm assuming you're not responding to me.?

[Thor 7,465]

That's a bit rich, to suggest Powell, who is noted for his departure from MV-style since the late 90s, as an example for this kind of music.

Rich? Are you saying the Bourne riff was NOT influential? Powell grew organically out of the MV style into his own, original take on it (retaining some, adding some).

But this again leads nowhere. You have this rather american trait to brush with very broad strokes without ever giving up an inch of your position, which in this case means that every MV/RC/ZImmer score does exactly what it should via your strict Hobgoodian definition what this is and anyone challenging that, be it sarcastic, specific or whatever, gets the same pat on the back. It really would be more honest just to say 'but i like it'...

Well, I like it too (some of it, anyway), but part of such a debate is saying not only why you like it, but why you think it works. Otherwise, there would be no debate. Would be kinda boring if all debates were "I like it, I don't like it, I like it, I don't like it" etc. We're not talking facts here (it's art criticism, after all), we're talking subjective opinions on a given issue.

[TownerFan 4,983]

Well, I like it too (some of it, anyway), but part of such a debate is saying not only why you like it, but why you think it works. Otherwise, there would be no debate. Would be kinda boring if all debates were "I like it, I don't like it, I like it, I don't like it" etc. We're not talking facts here (it's art criticism, after all), we're talking subjective opinions on a given issue.

You're right, Thor. But after we dissected endlessly almost every facet of a topic (like this one on Zimmer, but there are also others), every further opinion comes down as boring or repetetive. I'm not a rhetoric buff, nor a fan of forensics for the sake of itself, hence after I put down my own opinion and read various others', I tend to move on to the next subject. It seems to me that you have some warhorses that you like to bring out constantly and endlessly--no matter how rude or nasty the replies you receive can get. I appreciate your tenacity, but in the end my fear is that even these subjects risk to turn like discussions about politics or religion: at the end of the day, people make their own adamant stance and will not move away an ounce from that--and that's the end of the debate. I think intransigence is one the main enemy of a civil debate, but since we're not talking about world peace here, I think once we have dissected a topic enough we would make a favour to ourselves if we peacefully agree to disagree and then move on to another topic.

As I said, I'm not a fan of forensics on public internet forums nor an uber-expert on aesthetic/critical analysis like you are, so I tend to stay away from these kind of discussions. I tend to have an easygoing attitude when I'm here, like "Hey, I heard something very good, check this out!", to spread something nice about the music I like to listen to and share it with others. Or, even more, I prefer to read what other people express much better than me and maybe learn something that helps to grow my own knowledge.

[Thor 7,465]

I'm not going to deny that I LOVE constructive art discussions; in fact, that's one of my favourite pastimes (but I hate it when it goes personal). I like more easygoing stuff too, but I generally prefer a MIX of the two.

Part of the pleasure is probing deeper into someone's argument and/or preferences to gain greater understanding and knowledge - maybe even of your own viewpoint. That's why I love discussions about SPECIFIC things; the ability to analyze, ponder, question and otherwise decipher issues related to art. Maybe it's because I've been at a university so long, maybe it's just a general curiousity, I don't know.

The Zimmer debate can quickly get boring if it's just a matter of throwing generalizations, prejudices and cheap shots back and forth (hence my initial facepalm post). But it CAN be interesting and fresh too, if the subject is specific enough. I think there have been some glimmers of the latter in this thread.

[Quintus 5,399]

The problem you have got then Thor, is that there's only a handful of of posters here who actually enjoy typing up lengthy responses and in-depth explanations about whatever the given subject might be; everyone else (myself included) just prefers to keep it debate-lite, only dipping in and out of discussions as and when it's convenient to do so. I think it's slightly unreasonable of you to expect anything more, what with the daily struggles of real life etc. People will always dive in with brash opinions and baseless claims, it's the way of the online messageboard I'm afraid and perhaps you'd find it easier if you bared that in mind.

[A24 4,326]

Aren't there a lot of people at FSM who are willing or are capable to discuss things at great length? Maybe Thor expects the same here.

[Quintus 5,399]

Yeah, judging by my brief excursions into the FSM boards it seems a few there have got a hell of a LOT of time to spare.

[David Coscina 3]

I personally would have liked to hear Hans develop his electronic chops more, meaning I would have been happy with more purely electronic scores of his like Rain Main or Thelma and Louise or Driving Miss Daisy which is possible one of his more successful scores because it's a period film but scored with a contemporary palette. I think Zimmer is totally comfortable using this medium. As someone noted, he's more of an expert on synthesis than Williams will ever be because that's how he developed.

Obviously when discussing film music, it's clearly not possible to isolate the music's qualitative aspect apart from its source because the music was borne out of that. Especially in this day and age when the mandate is to keep things as "real" as possible, a composer is limited to certain compositional devices to provide the appropriate music setting.

So, divorcing ourselves from the label of "good" or "bad" music as an absolute form, I will say that Zimmer, can be heavy handed at his application of music to picture. I distinctly remember the scene in Last Samurai where Ujio is fighting Algren in the rain and Zimmer's score crescendos to a dramatic loud dynamic to underscore Algren's tenacity and resolve. It's totally overdone and melodramatic. Then again, I can name a bunch of scenes where Williams went at it full out to the point where you can clearly hear the mixer pushing down the faders so that the audience can hear the dialog. So every is guilty of this from time to time although Alfred Newman actually wrote notes in his scores where dialog entered and exited so he could lighten up the activity in the score to accommodate- genius!

Also, and this is actually kinda getting back to understanding form and development, I think that Zimmer's limitations compositionally have hurt him in understanding how to develop his key themes to their best potential. Do we hear a lot of variation in his music? I'm actually asking fellow forum members, perhaps Koray who does have a broader knowledge of his music, to lend some examples. Compare Zimmer's Inception to say, John Powell's How To Train Your Dragon. The architecture of Powell's score is scary in how he uses his key motives and themes in subtle and overt ways throughout the score. The more I listen, the more I hear these delicate shadings. This is absolutely the sign of a composer who KNOWS form and function. Powell is also formally trained and scores like HTTYD benefit from it dramatically because there is an unconscious development and genesis of his music that follows the story. I never got that from The Dark Knight and I even like parts of that score! Even a score I like a lot of, the Last Samurai, does not have this kind of linear development.

Okay, you guys want specifics?

HTTYD opens with the credits and you hear a bras chorale version of the Flying Theme. It's brief and very unadorned. But, it also comes up in a creepy string harmonic variation version when Hiccup finds Toothless the day following the dragon siege on the village. It then is recapped in the magical track "Forbidden Friendship" playing counterpoint no less to the "Toothless/Hiccup" theme. When we finally get to "Test Flight" Powell gives us a fully developed version and because the audience has heard this theme in various guises leading up to this, the music is majestic, powerful, triumphant and glorious. We, the audience, have been primed. Powell managed to accomplish something that Williams and his ilk had done on seminal scores like Superman, E.T.,etc. introducing a central idea and seeing it through to fruition. This isn't about music chops or training at the end of the day. IT SERVES THE FILM BETTER. And this is what great film scoring is about. It doesn't hurt that it's completely enjoyable to listen to on its own because in no small part of its inner architecture. And this is a direct result of Powell's background. Knowing symphonic form, having a grasp of larger structures allows a composer to bring this and weave their score throughout the film making it a cohesive whole, not a series of unrelated cues. I may not like some of Powell's over-indulgences in terms of orchestration but HTTYD is a solid score dramatically as one can get. And I just point out the development of ONE theme. There are other theme groups that he manipulates in various ways as well. It's worth pointing out that the piano rendition of the Flying Theme when Hiccup finds himself missing his leg was as poignantly scored as I have ever seen.

Anyhow, I honestly cannot analyze nor hear this kind of structure in the Zimmer scores I have. I hear some minor variations but nothing too substantial. So this has nothing to do with Zimmer's use of the orchestra or not. And I do feel very strongly that it IS relevant to the success or failure of a score if it doesn't have this intrinsic sense of development and build. Powell clearly has it. I don't think Zimmer does as much.

I think I'm done here. I've tried to explain my viewpoint. I'm sticking with it. And it DOES NOT MEAN I HATE ZIMMER! I believe objectivity is removing one's self from personal bias and analyzing things that way. I can tell you scores that I didn't like from Williams- parts of Spacecamp are HORRIBLE! the synth stuff is truly atrocious and no matter what musically cool things he might be doing, I cannot stomach the sound. So, I can be objective. I don't think everything Williams has ever written is pure gold. Most of his post '90s output is merely good. I don't think he writes at the level he used to in most cases. He's evolved perhaps and some scores like Geisha are homeruns (although I admittedly cannot get through the whole score- I like parts of it on its own).

I'm going to go back to a positive thread like the Desplat one...well, positive in that I like his music and really enjoy his Harry Potter immensely.

'Bye guys! Have fun!

[Thor 7,465]

The problem you have got then Thor, is that there's only a handful of of posters here who actually enjoy typing up lengthy responses and in-depth explanations about whatever the given subject might be; everyone else (myself included) just prefers to keep it debate-lite, only dipping in and out of discussions as and when it's convenient to do so. I think it's slightly unreasonable of you to expect anything more, what with the daily struggles of real life etc. People will always dive in with brash opinions and baseless claims, it's the way of the online messageboard I'm afraid and perhaps you'd find it easier if you bared that in mind.

Yes, I kinda know that, which is one of the reasons why I haven't participated here very much since I became a member way back when. Nothing against you fine folks, but it's probably not a "discussion atmosphere" that is up my alley (then again, few film music messageboards are). Oh well. That said, there has been some fruitful debate here, don't you think?

[Quintus 5,399]

Definitely an okay way to pass the quiet time at work.

[BLUMENKOHL 1,068]

I get a lot of free time when my workstation is compiling 2 million lines of code.

[Quintus 5,399]

Okay, you guys want specifics?

HTTYD opens with the credits and you hear a bras chorale version of the Flying Theme. It's brief and very unadorned. But, it also comes up in a creepy string harmonic variation version when Hiccup finds Toothless the day following the dragon siege on the village. It then is recapped in the magical track "Forbidden Friendship" playing counterpoint no less to the "Toothless/Hiccup" theme. When we finally get to "Test Flight" Powell gives us a fully developed version and because the audience has heard this theme in various guises leading up to this, the music is majestic, powerful, triumphant and glorious. We, the audience, have been primed. Powell managed to accomplish something that Williams and his ilk had done on seminal scores like Superman, E.T.,etc. introducing a central idea and seeing it through to fruition. This isn't about music chops or training at the end of the day. IT SERVES THE FILM BETTER. And this is what great film scoring is about. It doesn't hurt that it's completely enjoyable to listen to on its own because in no small part of its inner architecture.

I agree completely that that approach to scoring, or as Williams once put it - to "condition" the audience via the subtle use of thematic development is by far the most effective technique of all scoring craft, but to conveniently overlook other techniques or to even write them off as being inferior is perhaps a little bit arrogant, after all - Williams' own scoring philosophy and in turn Powell's are just that - philosophies. They're just as open to subjective perceptions as the music itself.

Yes, the technique you described is "what great scoring is about", but it isn't the only skill which makes for great scoring, clearly.

[Ollie 1,059]

Yeah, judging by my brief excursions into the FSM boards it seems a few there have got a hell of a LOT of time to spare.

Outside of a few insiders or people who have worked in the business, or a few that only pop up whenever "forbidden" topics are started, you will find most of the threads to be the same. People want to pop in and express their feelings and move on.

[David Coscina 3]

Okay, you guys want specifics?

HTTYD opens with the credits and you hear a bras chorale version of the Flying Theme. It's brief and very unadorned. But, it also comes up in a creepy string harmonic variation version when Hiccup finds Toothless the day following the dragon siege on the village. It then is recapped in the magical track "Forbidden Friendship" playing counterpoint no less to the "Toothless/Hiccup" theme. When we finally get to "Test Flight" Powell gives us a fully developed version and because the audience has heard this theme in various guises leading up to this, the music is majestic, powerful, triumphant and glorious. We, the audience, have been primed. Powell managed to accomplish something that Williams and his ilk had done on seminal scores like Superman, E.T.,etc. introducing a central idea and seeing it through to fruition. This isn't about music chops or training at the end of the day. IT SERVES THE FILM BETTER. And this is what great film scoring is about. It doesn't hurt that it's completely enjoyable to listen to on its own because in no small part of its inner architecture.

I agree completely that that approach to scoring, or as Williams once put it - to "condition" the audience via the subtle use of thematic development is by far the most effective technique of all scoring craft, but to conveniently overlook other techniques or to even write them off as being inferior is perhaps a little bit arrogant, after all - Williams' own scoring philosophy and in turn Powell's are just that - philosophies. They're just as open to subjective perceptions as the music itself.

Yes, the technique you described is "what great scoring is about", but it isn't the only skill which makes for great scoring, clearly.

Well, I do see your point. Jonny Greenwood's There Will be Blood is not a unified score in the same way John Williams' E.T. is. but then again, it's not the same kind of film. It provides atmosphere and is almost counter to the film's setting which is very cool. Greenwood actually mixes the strings with delayed ebow guitar which is terrific. I love his approach on this film. but yeah, there's not a lot of recapitulation from cue to cue. There's a couple variations on his themes but it's not as developed as Powell's HTTYD. I think something like Zimmer's Thin Red Line is a fine comparison to There Will be Blood and works equally well. I'm definitely not comparing apples to oranges. I'm thinking about the scores that Zimmer should have applied a more conventional technique because the film's construction itself almost dictates that. Things like Last Samurai or Batman Begins. I think using the minor 3rd interval as the seed of a larger theme would have been a fine idea. but the minor third never really develops in that film. In The Dark Knight, he overlays that idea with his "theme" and tracks like "A Dark Knight" are largely successful because they do have that inner logic. To say that Hans is not capable of this approach is ignorant on my part. After scoring 100 films over 20 years, it's not possible. But I think that the grounding in some fundamentals cannot hurt a composer. It's like saying to a bridge engineer "oh studying physics isn't necessary" and we've probably all see what happens why they forget to take sound waves into consideration.

I think the biggest problem when discussing music is whether people want to take it to the cut and dried "science" of it or whether they want to remain in the subjective area of descriptive non-musical adjectives. This is further convoluted when some try to imply it's all subjective. I heartily disagree with that. Music is a system that has evolved over centuries. If it was all philosophy and interpretation, there would be no musical vernacular, no classes in theory, no conservatories, and really no field of musicology. Fact is, there are and but that measure, music can be broken down and objectified. Whether you wish to see it that way or not is irrelevant because it is what it is.

Oh crap, I got sucked into responding again! Sorry!!!!

[A24 4,326]

Oh crap, I got sucked into responding again! Sorry!!!!

And by the same man who pretty much told Thor to take his business elsewhere because in-depth discussion is not the JWfan way.

[BLUMENKOHL 1,068]

I don't think Classical music as a system has any qualification to measure music in any objective manner, because it is merely the subjective application of physical and mathematical laws and theories to create sound that is pleasant to Western ears. Much in the same way that a biologist and chemists can often come to very different conclusions about a single topic.

Music can be measured absolutely, but only by mathematics, and I don't believe that most people here could explain Fourier Theory, let alone the rest of all the beautiful mathematics (explored, and as of yet undiscovered) behind what makes music...well music.

That one thing sounds [inset superlative here] to your ears is purely subjective to your genes, experiences, and standards you've acquired in your lifetime. Indeed these processes begin from conception..within the very chromosomes that make you up. Some sounds sound terrifying universally, even extending beyond humans and across entire classes of organisms. This we can infer is most likely due to some evolutionary trait passed down. On the other hand some sounds can have vastly differing meanings depending on what culture you might be in.

[Quintus 5,399]

You're such a drama queen Alex, there's getting involved by sharing one's thoughts and then there's typing up a fifteen paragraph essay. Why exactly would I tell Thor "to take his business elsewhere" when I've found much of his contribution to this thread to be extremely interesting? Much more so than your own, I add.

I think that Tudor soap you've been glued to is rubbing off on you.

[#SnowyVernalSpringsEternal 10,265]

I agree completely that that approach to scoring, or as Williams once put it - to "condition" the audience via the subtle use of thematic development is by far the most effective technique of all scoring craft, but to conveniently overlook other techniques or to even write them off as being inferior is perhaps a little bit arrogant, after all - Williams' own scoring philosophy and in turn Powell's are just that - philosophies. They're just as open to subjective perceptions as the music itself.

Yes, the technique you described is "what great scoring is about", but it isn't the only skill which makes for great scoring, clearly.

Truly the only right way to score a film is using Goldsmith's thematically unified approach. John Williams and his action setpieces is just whoring himself to the audience.

[Quintus 5,399]

That's certainly a valid argument.

[David Coscina 3]

I don't think Classical music as a system has any qualification to measure music in any objective manner, because it is merely the subjective application of physical and mathematical laws and theories to create sound that is pleasant to Western ears. Much in the same way that a biologist and chemists can often come to very different conclusions about a single topic.

Music can be measured absolutely, but only by mathematics, and I don't believe that most people here could explain Fourier Theory, let alone the rest of all the beautiful mathematics (explored, and as of yet undiscovered) behind what makes music...well music.

That one thing sounds [inset superlative here] to your ears is purely subjective to your genes, experiences, and standards you've acquired in your lifetime. Indeed these processes begin from conception..within the very chromosomes that make you up. Some sounds sound terrifying universally, even extending beyond humans and across entire classes of organisms. This we can infer is most likely due to some evolutionary trait passed down. On the other hand some sounds can have vastly differing meanings depending on what culture you might be in.

But you can apply this to any stimulus or system.

I agree completely that that approach to scoring, or as Williams once put it - to "condition" the audience via the subtle use of thematic development is by far the most effective technique of all scoring craft, but to conveniently overlook other techniques or to even write them off as being inferior is perhaps a little bit arrogant, after all - Williams' own scoring philosophy and in turn Powell's are just that - philosophies. They're just as open to subjective perceptions as the music itself.

Yes, the technique you described is "what great scoring is about", but it isn't the only skill which makes for great scoring, clearly.

Truly the only right way to score a film is using Goldsmith's thematically unified approach. John Williams and his action setpieces is just whoring himself to the audience.

But Goldsmith ventured into abstract, textural scores like POTA which wasn't thematically unified. Texturally unified yes.

[#SnowyVernalSpringsEternal 10,265]

That was the 60's, people in Hollywood smoked to much pot!

[Quintus 5,399]

Goldsmith made up for it with hard drinkin'.

[Ollie 1,059]

Here's to swimming with bow legged women.....

[Wojo 2,453]

I don't believe that most people here could explain Fourier Theory

If you'd have caught me right before my Circuits 2 final, maybe. Not anymore.

[Quintus 5,399]

Here's to swimming with bow legged women.....

Not a bad record for this vicinity

[Naïve Old Fart 9,498]

That was the 60's, people in Hollywood smoked to much pot!

They did a little too much L.D.S.

[BLUMENKOHL 1,068]

Wojo, I always knew there was a reason you were quirky.

What was your major by chance?

[Naïve Old Fart 9,498]

I don't believe that most people here could explain Fourier Theory

If you'd have caught me right before my Circuits 2 final, maybe. Not anymore.

I've just look up Fourier Theory on the net...and now my brain is bleeding.

[Wojo 2,453]

Wojo, I always knew there was a reason you were quirky.

What was your major by chance?

BS Electrical Engineering with a concentration in electronics, Class of 2003

Such heavily involved mathematics are really like a bicycle, and would be easy to get back on.

You said "Fourier" and I instantly thought "j omega," and had to step back and realize that was Laplace. They're similar though. I was just happy my TI-89 could handle frequency domain conversions.

[Naïve Old Fart 9,498]

Wojo, I always knew there was a reason you were quirky.

What was your major by chance?

BS Electrical Engineering with a concentration in electronics, Class of 2003

Such heavily involved mathematics are really like a bicycle, and would be easy to get back on.

You said "Fourier" and I instantly thought "j omega," and had to step back and realize that was Laplace. They're similar though. I was just happy my TI-89 could handle frequency domain conversions.

Well, I'm glad you cleared that up.

[BLUMENKOHL 1,068]

It's good to know there's other engineers round this place. I did comp sci + computer animation. I liked none of the overall types of people in either of those two majors, so all my friends were basically in Mechanical or Electrical Engineering.

Ah the TI-89. Without it I'd probably run out of time on every exam.

Such heavily involved mathematics are really like a bicycle, and would be easy to get back on.

Haha, occasionally I find that the bike is rolling down a hill and I'm running after it trying to hop back on.

[Wojo 2,453]

I asked for a TI-89 under the pretext that I'd never fail a math exam again. Um...

Hey, at least it still works.

[BLUMENKOHL 1,068]

I may have been guilty of sneaking notes into the text editor on it a couple of times.

Yeah one thing I'll say for TI, they may sell processors at the same price of processors that orders of magnitudes faster, but they make em to last!

[A24 4,326]

"You're such a drama queen, Bobby! Why exactly would I tell Cliff Barnes "to take his business elsewhere" when I've found much of his contribution to the oil industry to be extremely interesting? Much more so than your own, I add. I think this Pamela girl you've been glued to is rubbing off on you!"

Amazing! You nailed him, Quint! And to think you called me a drama queen!

[Quintus 5,399]

Ha ha!

[Thor 7,465]

I like ponies.