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      CommentAuthorErik Woods
    • CommentTimeMay 24th 2014 edited
    And more rips of "Jim's New Life." wink <-- No seriously, it's actually in the score.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  1. What's with all these trumpets and melodies? It's like... fun and stuff. I'm like... smiling and waiving my arms and stuff. Damn it Joel McNeely, you've turned me into a grinning spastic! wave

    Great little score!
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
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      CommentAuthorSouthall
    • CommentTimeMay 27th 2014
    Seth Macfarlane doesn't hold back in his liner notes to this.

    Extract: "One of the problems is that we’re seeing an abundance of film composers who have risen to great success while never really understanding the mechanics and nuances of how an orchestra works as a united organism. They’ll build synthesized scores in their studios using a variety of computer programs (sometimes not even knowing how to write a single note on paper), and then have those scores transcribed for a live acoustic orchestra. The orchestra is then recorded through a process called “striping.” This means that the strings are recorded in isolation, the woodwinds are recorded in isolation, the brass is recorded in isolation, etc. They’re then mixed together after the fact, resulting in a lifeless, sanitized sound that sounds mechanical and airless. Think of it like Humphrey Bogart doing all of his lines on one soundstage, while Ingrid Bergman does her lines on another, and then the two are edited together later. There would be no performance. Because of this trend, I have found that my interest in film music has diminished. There have been no great, memorable orchestral scores to emerge for some time."
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      CommentAuthorSteven
    • CommentTimeMay 27th 2014
    He gives me a broner.
    • CommentAuthorTimmer
    • CommentTimeMay 27th 2014
    ...a broner? confused
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeMay 27th 2014
    Is that a mash-up between brother and boner?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorSteven
    • CommentTimeMay 27th 2014
    Ah, sometimes I forget my audience. Yes, it is. I think Seth McFarelene is just swell.
    • CommentAuthorTimmer
    • CommentTimeMay 27th 2014 edited
    No problem me breddrin biggrin

    MacFarlane speaks a lot of sense.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. Listening to (clips of) A Million Ways To Die In The West it's like hearing bits of all the western scores that have ever been written being put into a melting pot and being then poured out into one album. It could replace any western score playlist.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  3. I don't much like MacFarlane's work but damn I wish more directors had his attitude towards film music.
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      CommentAuthorErik Woods
    • CommentTimeMay 28th 2014
    Southall wrote
    There have been no great, memorable orchestral scores to emerge for some time."


    That last line is utter bullshit but I agree with the rest of his statement!

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorBregt
    • CommentTimeMay 28th 2014 edited
    I think a lot of what he wrote in that liner notes is rather lame. Very negative. I also expect to like it as much as Alan, like I usually experience with McNeely.

    But, I thought that for film music orchestra sections were regularly recorded separately in the past? Or does he mean in different sessions?
    Kazoo
  4. Bregt wrote
    I think a lot of what he wrote in that liner notes is rather lame. Very negative. I also expect to like it as much as Alan, like I usually experience with McNeely.

    My comments were not written in a particularly positive manner. It seems to be well written and is certainly 'classic western style' but there's a whole number of western scores to listen to instead.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  5. Bregt wrote
    I think a lot of what he wrote in that liner notes is rather lame. Very negative. I also expect to like it as much as Alan, like I usually experience with McNeely.

    But, I thought that for film music orchestra sections were regularly recorded separately in the past? Or does he mean in different sessions?


    I think that the problem with modern film music is not the fact that sections are recorded separately. The players DO know what they're playing with, because the sound feed to the players' headphones features the demo in the case of stemming (rather than stripping).

    I think it's because composer and directors/producers stopped thinking in a film-specific way, more than anything. What is demanded is a rehash of a popular (at the moment) sound with little regard for the demands of a particular narrative. Whether orchestras play together or separately is really secondary.

    Separate recordings... could have been done in the past for purely artistic reasons. Now it's the matter of having a better controlled mix more than anything.
    http://www.filmmusic.pl - Polish Film Music Review Website
  6. I assume that sections of orchestra are recorded separately so that each section can be manipulated whichever way people want in order to make them sound the way they want.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  7. Yeah, exactly.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorBregt
    • CommentTimeMay 28th 2014
    And this was never the case up until recently? I always thought this has always been like that...
    Kazoo
    • CommentAuthorAnthony
    • CommentTimeMay 28th 2014
    FalkirkBairn wrote
    I assume that sections of orchestra are recorded separately so that each section can be manipulated whichever way people want in order to make them sound the way they want.


    John Powell does this. Yet look how full of life his music sounds and the clarify it provides too.
    • CommentAuthorTimmer
    • CommentTimeMay 28th 2014
    ...yes but Powell's orchestral work doesn't sound like synths.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorJim Ware
    • CommentTimeMay 28th 2014 edited
    Bregt wrote
    And this was never the case up until recently? I always thought this has always been like that...


    It's been common for choral and orchestral separation for many years, but individual recording of sections of the orchestra is more recent.

    Although it makes the orchestra less synergistic it can work if the dynamics of the music are notated effectively. Ultimately it depends on the compositional and notational skill of the composer and/or his team of orchestrators/copyists.
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      CommentAuthorSouthall
    • CommentTimeMay 30th 2014
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      CommentAuthordgoldwas
    • CommentTimeJun 3rd 2014
    This past April, composer Joel McNeely was at the MGM Scoring Stage at Sony to the record his score for Seth MacFarlane's western comedy, A Million Ways to Die In the West. The film, which opened last weekend, marks the third time McNeely and MacFarlane have collaborated, following their work on American Dad and Seth's Grammy-nominated solo album, Music Is Better Than Words. ScoringSessions.com is excited to bring our readers exclusive photos from the scoring sessions!

    http://www.scoringsessions.com

    Enjoy!
    I consider a project a success when Thor says he won't buy it
  8. My review of A MILLION WAYS TO DIE IN THE WEST, for anyone who is interested:

    http://moviemusicuk.us/2014/06/06/a-mil … l-mcneely/

    Jon
    • CommentAuthorAnthony
    • CommentTimeOct 9th 2014
    This appears to have gone completely under the radar, but there's a deluxe edition of McNeely's A Million Ways To Die In The West score now available with a bunch of previously unreleased music:

    https://itunes.apple.com/gb/album/milli … d914419620
  9. A couple of new reviews

    The Avengers
    Lover's Prayer
    A Million Ways to Die in the West
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorThor
    • CommentTimeApr 19th 2015
    Thomas Glorieux wrote
    A couple of new reviews

    The Avengers
    Lover's Prayer
    A Million Ways to Die in the West


    AVENGERS and WEST are fine, but LOVER'S PRAYER is absolutly gorgeous! One of my favourite McNeelys.
    I am extremely serious.
  10. Thor wrote
    Thomas Glorieux wrote
    A couple of new reviews

    The Avengers
    Lover's Prayer
    A Million Ways to Die in the West


    AVENGERS and WEST are fine, but LOVER'S PRAYER is absolutly gorgeous! One of my favourite McNeelys.


    it's lovely yes, but as said in the review, I wasn't connecting to all the tracks smile
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  11. Seth has posted a cue from Joel from "The Orville":
    https://soundcloud.com/user-314502860/t … dtrack-cue
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorThor
    • CommentTimeSep 7th 2017
    justin boggan wrote
    Seth has posted a cue from Joel from "The Orville":
    https://soundcloud.com/user-314502860/t … dtrack-cue


    Sounds pretty good!
    I am extremely serious.
  12. I'm really looking forward to this. McNeely is so good, and given so little opportunity to shine these days. I'm hoping this show will let him write some big glorious star-trek style music. Since it's a comedy, I assume that will give him leeway to be as brash and loud as he wants to be.

    This cue is nice, but I'm hoping for more than this. If they're previewing the album with this track because it's the best thing on the album, then I'm going to be disappointed.