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"Music produced by..."

General Discussions » "Music produced by..." (Posts 31 to 37 of 37)

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    • CommentAuthorAnthony
    • CommentTimeJan 22nd 2010
    I've seen this label on several scores, but I've never understood what it means. The score is by one composer, but the music is "produced by" another. Can somebody explain this please?
  2. It's hard to say. I've found out that on some rare occassions, the producer has actually ghostwritten some of the score.
    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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      CommentAuthorMarselus
    • CommentTimeJan 22nd 2010
    Now that you mention it, in the main credits of Sherlock Holmes Zimmer appears credited as the composer while Lorne Balfe appears credited as producer. I dont´remember any other film where the producer shares the screen with the composer.
    Anything with an orchestra or with a choir....at some point will reach you
  4. I don't know exactly how it is in film music (with Horner Rhodes co-produces the scores and albums, I guess it's dealing with the budget itself), but in popular music "producing" a song mostly means arranging it.

    Zimmer credited the arrangers on Prince of Egypt album as the songs' producers.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSouthall
    • CommentTimeJan 22nd 2010
    It depends, I think. Sometimes it just means they assembled the album, sometimes they might have overseen the mixing etc (because the composer himself is on the stage conducting the score), sometimes they were more like a "music supervisor" (usually the latter when Zimmer is producing a different RC composer's score, for instance).
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    • CommentAuthorRanietz
    • CommentTimeJan 22nd 2010
    Maybe the producer is in charge of the physical CD album? He decide what goes on the album and not, in what order the tracks will be etc. Just guessing...
  7. I think that sometimes Zimmer takes the "executive music producer" on a different score, just so the film producers leave the original composer alone and let him do his work. I think this in particular happened with the Julian Nott work on Wallace and Gromit: Curse of the Were-Rabbit and David Julyan's score to Nolan's The Prestige.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthoradam
    • CommentTimeJan 22nd 2010
    Yes, it does depend. I would guess in this case it means overseeing the production of the recording. For example, the composer will say 'I wrote this piece for X musicians, and we need 12 french horns, and a castrato, and a susaphone' etc etc, and the music producer will say, alright we have $X, how can we make this happen? What studio, what recording engineer, how many sessions, etc. Much like the relationship between the director and the producer on a feature film.
  9. Southall has it about right. When you see a 'produced by' credit on an album, it means that they were the once who decided which cues to include, the track order, etc etc. They essentially decided what music to include; the Executive Producer is the one who provides the money.

    When you have a producer as an on-screen credit (like Zimmer's credit for Julian Nott's Curse of the Were-Rabbit score), it's usually a case of an older, more experienced, more 'established' composer overseeing the work of a newer composer, making sure it's all going ok. Usually the producer doesn't actually *write* anything, but basically just supervises and acts as an intermediary between the composer and the studio. One exception would be the first Pirates score, where Badelt was credited as composer, Zimmer as "overproducer" (a joke), but in reality Zimmer wrote most of it.
    Movie Music UK http://www.moviemusicuk.us
    • CommentAuthormarkrayen
    • CommentTimeJan 22nd 2010
    adam wrote
    Yes, it does depend. I would guess in this case it means overseeing the production of the recording. For example, the composer will say 'I wrote this piece for X musicians, and we need 12 french horns, and a castrato, and a susaphone' etc etc, and the music producer will say, alright we have $X, how can we make this happen? What studio, what recording engineer, how many sessions, etc. Much like the relationship between the director and the producer on a feature film.


    Thats the job of the orchestra contractor. On the extra features of the Karlin Jerry Goldsmith DVD theres an interesting interview with Sandy Decrescent, who also contracts the orchestras for most of John Williams´ sessions and countless other composers. Worth checking out if you can!

    In my (limited) experience, the producer is a creative consultant who oversees the process and has the ultimate responsibility for the final result of a given project. They have creative input, but their main purpose is to make sure the job gets done. For the soundtrack of the film I worked on in 2008, I merely sat in the back and nodded in approval of the producer´s suggestions while editing and mixing the takes. I didn´t have overview of what takes were good and which were bad, it was the producer´s job to do that and take notes to ensure that the editing process was efficient.
    www.markcandasamy.no
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      CommentAuthorDemetris
    • CommentTimeJan 23rd 2010 edited
    Southall wrote
    It depends, I think. Sometimes it just means they assembled the album, sometimes they might have overseen the mixing etc (because the composer himself is on the stage conducting the score), sometimes they were more like a "music supervisor" (usually the latter when Zimmer is producing a different RC composer's score, for instance).


    Indeed, but it's hard to believe that someone actually oversees Zimmer so he can be labeled as his producer for some score.

    I think in film music, these things are much lighter than say popular genres and r'n'b, and basically if someone has some musical part in the whole production and the final CD / album, be it extra material, arranging music or arranging tracks for the cd, running around scheduling things, or simply too many hours in the studio for that score, he might as well get such a project. More like an insider arrangement.
    Love Maintitles. It's full of Wanders.
  12. This happened on King Arthur, actually.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorlp
    • CommentTimeJan 24th 2010
    In Pop music, producers are responsible for the general sound of the song, working with, and making sure that, the voice talent works well with the instrumental backing (that he generated,) and vice versa.

    In the case of Sherlock Holmes, given how the score is largely filled with soloists, Lorne Balfe was partly responsible for making sure that the soloists' parts works along with the arrangements (that Hans and Lorne generated from the musical templates that Hans created for each scene). I seriously doubt that Lorne would be overseeing what Hans does. It's just another one of those overarching credit that tells people that, yes, this guy did help me out immensely on the production of the score.
    • CommentAuthoradam
    • CommentTimeJan 24th 2010
    markrayen wrote
    In my (limited) experience, the producer is a creative consultant who oversees the process and has the ultimate responsibility for the final result of a given project. They have creative input, but their main purpose is to make sure the job gets done. For the soundtrack of the film I worked on in 2008, I merely sat in the back and nodded in approval of the producer´s suggestions while editing and mixing the takes. I didn´t have overview of what takes were good and which were bad, it was the producer´s job to do that and take notes to ensure that the editing process was efficient.


    Cool, what was your role? Are you a sound editor or engineer?
  15. Seems that Zimmer completely takes responsibility for scores he produced, even as far as to arranging/composing cues.

    Iron Man has some pieces credited to Zimmer in ASCAP, the same goes with one or two pieces with the recent Transformers score. A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.
    http://www.filmmusic.pl - Polish Film Music Review Website
  16. PawelStroinski wrote
    I think that sometimes Zimmer takes the "executive music producer" on a different score, just so the film producers leave the original composer alone and let him do his work. I think this in particular happened with the Julian Nott work on Wallace and Gromit: Curse of the Were-Rabbit and David Julyan's score to Nolan's The Prestige.


    And in those cases, they were produced largely in Zimmer's facility as well.
    A butterfly thinks therefore I am
  17. Yes. Sometimes also Zimmer lends his facility to other composers. Most notable case was for Iglesias on Kite Runner. I believe the guitar solos were even performed by Pereira.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorMarselus
    • CommentTimeJan 25th 2010
    PawelStroinski wrote
    A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.

    Does it say which cue?
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthormarkrayen
    • CommentTimeJan 25th 2010
    adam wrote
    Cool, what was your role? Are you a sound editor or engineer?


    Sorry, I think that came out wrong. I'm not a technician, but I composed/conducted the music for a large-scale amateur production from the south of Norway in the fall of 2008. the most educational experience of my life! Theres some articles about the film online, for instance here: http://www.release.no/artikkel.asp?id=6025. Google can translate that for you if you're interested. Theres also a DVD that used to be available online, but unfortunately it sold out this Christmas. - M
    www.markcandasamy.no
  20. Marselus wrote
    PawelStroinski wrote
    A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.

    Does it say which cue?


    It's on the bootleg - Asteroid Chase/Shuttle Crash. One of the best IMHO
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorlp
    • CommentTimeJan 25th 2010
    PawelStroinski wrote
    Marselus wrote
    PawelStroinski wrote
    A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.

    Does it say which cue?


    It's on the bootleg - Asteroid Chase/Shuttle Crash. One of the best IMHO


    It's one of the best cue on the album too. I didn't know that Hans worked that cue. I've always thought it was a HGW composition though.
    • CommentAuthorRoy
    • CommentTimeJan 25th 2010
    lp wrote
    PawelStroinski wrote
    Marselus wrote
    PawelStroinski wrote
    A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.

    Does it say which cue?


    It's on the bootleg - Asteroid Chase/Shuttle Crash. One of the best IMHO


    It's one of the best cue on the album too. I didn't know that Hans worked that cue. I've always thought it was a HGW composition though.


    I thought that too, but can't say I'm suprised while This track sounds like would be taken from Gladiator or Pirates wink
  23. Yes, there is a theme from Pirates in it biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorRoy
    • CommentTimeJan 25th 2010
    ...and As We all Know Hans was responsible for most of themes in Pirates dizzy
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      CommentAuthorlp
    • CommentTimeJan 25th 2010
    Roy wrote
    lp wrote
    PawelStroinski wrote
    Marselus wrote
    PawelStroinski wrote
    A major cue in the Armageddon score was also written by Zimmer. He reportedly (according to ASCAP credits) also helped out on Bee Movie.

    Does it say which cue?


    It's on the bootleg - Asteroid Chase/Shuttle Crash. One of the best IMHO


    It's one of the best cue on the album too. I didn't know that Hans worked that cue. I've always thought it was a HGW composition though.


    I thought that too, but can't say I'm suprised while This track sounds like would be taken from Gladiator or Pirates wink


    HAHAHAHA, that's funny.
  26. One of the basic Pirates progressions IS in that cue with a very similar motif.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorRoy
    • CommentTimeJan 25th 2010
    Yes but overall sound Is quite Zimmerish, After this "progression" that Is very similar to Pirates, there Is A Passage from Crimson Tide and It All Moves To Peacemaker( so Glatiator as well tongue ) then Joins The Rock. All In all It's Quite Cool track cool Oh and In the middle comes HGW's Choral theme from this score as well as Trevor Rabins's Theme wink
  28. The main motif in the action sounds like a variation on the Broken Arrow action music.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorRoy
    • CommentTimeJan 25th 2010
    for Me it's more Like Peacemaker wink
    • CommentAuthorRoy
    • CommentTimeJan 25th 2010
    But We Can easly add Broken Arrow to the eqation tongue

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