John Williams' synth phase of the 90s

[indy4 155]

I'm curious what we think of the way JW used synths in the 90s. While they were always a part of his vocabularly, they became much more prominent starting in 1990, in scores like Home Alone and Presumed Innocent. I'd say this lasted up through Sleepers in 1996; after that synths started to take more of background role, supporting the rest of the orchestra more than anything else (even though they are still given some exposed features, especially in sci-fi source music).

If we look at the following scores from the period 1990-96, I think most would agree that synths get more prominent feature here than they do in the average JW work:

Home Alone

Presumed Innocent

JFK

HA2: Lost in New York

Jurassic Park

Nixon

Sleepers

Any speculation as to why this phase was so short? Was it due to demands of directors/producers? Or was JW just trying to experiment a bit? And do you see this as impacting JW's use of synth after 1996?

Random question that's only tangentially related: does JW ever use synth in his concert works?

[#SnowyVernalSpringsEternal 10,265]

I'm just glad that phase ended!

[Hlao-roo 389]

I'm just glad it ended before Williams went and inserted a god-awful electric guitar riff smack dab in the middle of a chase cue or something. That would have been terrible!

I'm curious what we think of the way JW used synths in the 90s. While they were always a part of his vocabularly, they became much more prominent starting in 1990, in scores like Home Alone and Presumed Innocent. I'd say this lasted up through Sleepers in 1996; after that synths started to take more of background role, supporting the rest of the orchestra more than anything else (even though they are still given some exposed features, especially in sci-fi source music).

To me, Presumed Innocent and Home Alone ("Setting the Trap") strike me as a nod to the prevailing winds at the time. And then certain stylistic predilections tend to recur among scores of a given period.

Some of the Nixon/Sleepers stuff is reprised briefly in Stepmom. In the 2000s he largely reserved their more prominent use for Spielberg's SF films.

[Thor 7,465]

He, he...."synth phase" is taking it a bit too far, I think. Sure, he's used them very discretely in his scores, but very rarely have they received a prominent place in the expression (in fact, some of his 80s scores may be closer in that regard than the 90's efforts).

[Sharkissimo 1,973]

It's more the combination of the movie scoring Zeitgeist at that time, along with the increased bit depth and more organic (to early 90s ears) sounds available with sample-based synthesis. I'd actually extend that period a bit, and have it start with BORN ON THE FOURTH OF JULY and maybe even THE WITCHES OF EASTWICK. That for me is the begining of modern Williams. The final years of his collaborations with Herb Spencer and the arrival of John Neufield.

[King Mark 3,625]

To me his synth phase is Heartbeeps

[A24 4,326]

I think John likes synthesizers, especially because of the way they can add different colors to the orchestra. The idea that he only uses them because directors demand it seems so very unlikely to me. The reason why he doesn't use synths in his 'serious' work is because, well, he wants to be taken seriously . Let's face it, the place of the synthesizer in the classic orchestra or 'classical music' is not a given.

Alex

[Sharkissimo 1,973]

The reason why he doesn't use synths in his 'serious' work is because, well, he wants to be taken seriously .

That's nonsense.

@0:49

[A24 4,326]

Is it?

[Sharkissimo 1,973]

Listen to the video.

[Dixon Hill 4,232]

Yep. And certainly something like Soundings further proves it. Those resources are becoming readily available in the concert hall.

[Miguel Andrade 1,260]

Let's face it, the place of the synthesizer in the classic orchestra or 'classical music' is not a given.

Mason Bates is doing a great job in that respect, if you ask me:

[Dixon Hill 4,232]

So is John Adams.

[indy4 155]

And Steven bryant

[A24 4,326]

Exactly! Contemporary classical composers that want to use synthesizers make sure synths ARE available.

[Dixon Hill 4,232]

So your argument has now changed to Williams not wanting to use synths at all, instead of him fearing he won't be taken seriously if he does? Then, as I said, what about Soundings?

[indy4 155]

Does Soundings use synths?

[Dixon Hill 4,232]

It incorporates experimental electronic elements.

[indy4 155]

But beyond the pre-recorded flute stuff?

[Dixon Hill 4,232]

I'm not sure if they're synths or recordings of the kind of sculpture-instruments that he used in Images.

[A24 4,326]

So your argument has now changed to Williams not wanting to use synths at all, instead of him fearing he won't be taken seriously if he does? Then, as I said, what about Soundings?

Changed? I didn't change a thing.

[Dixon Hill 4,232]

Fair enough, but still, how do you account for his using electronic elements in Soundings? He's obviously not afraid of it seeming "not serious."

[A24 4,326]

I don't know Soundings but if it incorporates synthesizers (and typical synthetic sounds, not acoustic emulations) then he apparently isn't afraid to use them.

[Sharkissimo 1,973]

typical synthetic sounds

Like this?

[Dixon Hill 4,232]

I don't know Soundings but if it incorporates synthesizers (and typical synthetic sounds, not acoustic emulations) then he apparently isn't afraid to use them.

I'm honestly not sure if the piece uses synths or recordings of unique acoustic instruments. Judge for yourself.

[Sharkissimo 1,973]

Deep pad and reversed chime-like sounds are all synthetic.

[Dixon Hill 4,232]

You're sure some of it isn't more of the sculpture instrument stuff like he used in Images?

[Sharkissimo 1,973]

I'm positive. The Baschet Bros' sound sculptures have very different spectral profiles. The only remotely pad-like instrument is the Cristal Baschet.

[Dixon Hill 4,232]

Ahhh, I really like that.

[Sharkissimo 1,973]

You know Martinez's DRIVE score? Tonnes of Baschet in that.

[A24 4,326]

Deep pad and reversed chime-like sounds are all synthetic.

I didn't hear the "deep pad" but the ringing tubes, bells or chimes sound like (reversed) 'samples' of a real instrument. Indeed, it's so atypical and unrecognizable for a synth that people here are surprised or even question that a synth is used. And even if this is the only instance where Williams has used a 'synthesizer' in his 'serious' work, you must admit it's still a very cautious attempt, not to be compared with more patent synthesizer sounds in his scores. Soundings is a relatively new work, isn't it? Personally, when overlooking his career as a contemporary classical composer, I wouldn't call him someone who wasn't afraid (or interested) of using the synthesizer.

Alex

[Sharkissimo 1,973]

I didn't hear the "deep pad"

I meant the low pedal note. If you can't hear it, it's a problem with your speakers or phones.

Personally, when overlooking his career as a contemporary classical composer, I wouldn't call him someone who wasn't afraid (or interested) of using the synthesizer.

Too many double negatives. Rephrase that.

[WilliamsStarShip2282 308]

Im sure you've all seen this, but it clarifies.