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- CommentAuthorMartijn
- CommentTimeJun 26th 2013
Steven wrote

FalkirkBairn wrote
So you can use Audacity to overlay two separate tracks into one?

The feature you will want to use the most is fade in/fade out, and then open two separate stereo tracks to overlay the two pieces together (rather than having just one stereo tracks and essentially causing a train crash of audio).

Not entirely sure what you're saying. How are fade in/fade out relevant in this?
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
- CommentAuthorSteven
- CommentTimeJun 26th 2013
Martijn wrote

Steven wrote

FalkirkBairn wrote
So you can use Audacity to overlay two separate tracks into one?

The feature you will want to use the most is fade in/fade out, and then open two separate stereo tracks to overlay the two pieces together (rather than having just one stereo tracks and essentially causing a train crash of audio).

Not entirely sure what you're saying. How are fade in/fade out relevant in this?

For example if you're editing two tracks together that aren't the start or end of their respective audio files, you would need to use a small amount of fade in/fade out overlap on each stereo tracks so that they don't just abruptly end and start as they merge into one another.
- CommentAuthorEdmund Meinerts
- CommentTimeJun 26th 2013
Steven wrote

Martijn wrote

Steven wrote

FalkirkBairn wrote
So you can use Audacity to overlay two separate tracks into one?

The feature you will want to use the most is fade in/fade out, and then open two separate stereo tracks to overlay the two pieces together (rather than having just one stereo tracks and essentially causing a train crash of audio).

Not entirely sure what you're saying. How are fade in/fade out relevant in this?

For example if you're editing two tracks together that aren't the start or end of their respective audio files, you would need to use a small amount of fade in/fade out overlap on each stereo tracks so that they don't just abruptly end and start as they merge into one another.

Yeah. That's how, for example, I edited the three cues in the "Truckzilla" sequence from A Good Day to Die Hard into a single monster action cue...which is still by far the thing I've listened to most this year.

For the SimCity cues, once you lay them on top of each other and merge the tracks, you'll end up with a lot of distortion because the total volume goes way beyond the limit. Just use the amplify feature and enter a negative value to fix that, though. No fading required.
- CommentAuthorMartijn
- CommentTimeJun 26th 2013
Right. I see.
My comment was indeed directed at the Sim City cues, where i somehow thought the 'night' and 'day' cues would be of the exact same length and tempo so that a one-to-one overlay would be easy.
Good point on the volume, Edmund.
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
- CommentAuthorSteven
- CommentTimeJun 26th 2013
Ah, I didn't see that. Then yes, what Edmund said!
- CommentAuthorMartijn
- CommentTimeJun 26th 2013
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
- CommentAuthorsdtom
- CommentTimeJun 26th 2013
HELLGATE another fairly new release from MMM. Glad to see Dunlap getting a bit of exposure.
Tom
listen to more classical music!
- CommentAuthorScribe
- CommentTimeJun 26th 2013
NP: Da Vinci's Demons - Bear McCreary

This is a TV score? It's more lush, orchestral, thematic, and diverse in its employment of vocals, woodwinds, and other delicious devices than nearly all of the actual film scores I've heard this year...anyone who thinks McCreary's output has gotten stale the past few years should definitely try this one...
I love you all. Never change. Well, unless you want to!
- CommentAuthorCaptain Future
- CommentTimeJun 26th 2013
NP: The Borgias (VS, 2011) - Trevor Morris

Bought it on impulse today at a local record shop. Very nice, if not as compelling as The Tudors, season 4. I really like this composer more and more.

Volker
Bach's music is vibrant and inspired.
- CommentAuthorNeilbucket
- CommentTimeJun 26th 2013 edited
I've spent the morning with some fine scores:

The Adventures of Tin Tin - John Williams, followed by

Alien 3 - Elliot Goldenthal, followed by

Batman - Danny Elfman, and

NP: Atlantis: The Lost Empire - James Newton Howard

Some great work by some of the greats. It has been a while since I listened to each of these and it's nice to rediscover terrific scores like these.
Insert witty line here
- CommentAuthorErik Woods
- CommentTimeJun 26th 2013 edited
NP: The Thin Red Line - Hans Zimmer

I'm listen to this for a second time in as many days. I'm blown away that Zimmer wrote this. The orchestrations are among some of the very best of Zimmer's career. Woodwinds, strings and horns; all live players playing all these very unnoticeable Zimmer cues. You listen to something like "Stone in my Heart" and you would never think this came from Zimmer.

A remarkable achievement! I can hear why so many hold this one on such a high pedestal. A very powerful, reflective and haunting score!

-Erik-
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
- CommentAuthorCaptain Future
- CommentTimeJun 26th 2013
Erik Woods wrote
NP: The Thin Red Line - Hans Zimmer

I'm listen to this for a second time in as many days. I'm blown away that Zimmer wrote this. The orchestrations are among some of the very best of Zimmer's career. Woodwinds, strings and horns; all live players playing all these very unnoticeable Zimmer cues. You listen to something like "Stone in my Heart" and you would never think this came from Zimmer.

A remarkable achievement! I can hear why so many hold this one on such a high pedestal. A very powerful, reflective and haunting score!

-Erik-

Bach's music is vibrant and inspired.
- CommentAuthorScribe
- CommentTimeJun 26th 2013
NP: NHK Special Human Naze Ningen ni Naretanoka - Naoki Sato

I have no idea what this is, but its absolutely gorgeous and the best thing I've heard from Sato so far.
I love you all. Never change. Well, unless you want to!
- CommentAuthorlp
- CommentTimeJun 26th 2013
FalkirkBairn wrote
NP: Pacific Rim - Ramin Djawadi

Having a more focused listen to this now. I am enjoying what I am hearing - though it probably doesn't make for traditional film scoring with it's transferable repeating rhythms and very little musical progression.

I like the mix between the strong electric guitar presence and the orchestra - though I am hoping that the guitar doesn't get too gimmicky or overstay its welcome. The usual tell-tale "power scoring" is all there including the Zimmer/Inception/Dark Knight horn blaring (whatever it actually is, is it a D?)

I don't think that this is the turd that I am sure a lot of people will suggest (and are already hinting at.)

I enjoyed this. And I have to say that it's more entertaining than MOS. It is still a close cousin of Iron Man, since the movie is about giant figures of steel. It has a more orchestral presence than of the synthetic kind, and the overall score feels very "organic" and "warm". It's less actiony than I expected, as in the album doesn't feature much of any action cues. Perhaps those scenes are unscored? What we do get is thematic/melodic cues that have active passages with build ups and such.

And the Inception "BRAMMM" horn cues are there in a few, FEW tracks, but not a prominent thing.
- CommentAuthorPawelStroinski
- CommentTimeJun 26th 2013
Erik Woods wrote
NP: The Thin Red Line - Hans Zimmer

I'm listen to this for a second time in as many days. I'm blown away that Zimmer wrote this. The orchestrations are among some of the very best of Zimmer's career. Woodwinds, strings and horns; all live players playing all these very unnoticeable Zimmer cues. You listen to something like "Stone in my Heart" and you would never think this came from Zimmer.

A remarkable achievement! I can hear why so many hold this one on such a high pedestal. A very powerful, reflective and haunting score!

-Erik-

Including Hans himself

It was a difficult process and yet a very long-winded one. My article makes too many mistakes in this regards...

I was just collecting sentences from various interviews, but I got things very wrong. A few phone calls and the Criterion blu-ray later I know how it really was, including a few funny anecdotes, though both about the same cues.

There are very minimal electronic colors in the score, but they are there (one of the sounds was reused in Gladiator actually).
http://www.filmmusic.pl - Polish Film Music Review Website
- CommentAuthorAnthony
- CommentTimeJun 26th 2013
Steven wrote

Martijn wrote

Steven wrote

FalkirkBairn wrote
So you can use Audacity to overlay two separate tracks into one?

The feature you will want to use the most is fade in/fade out, and then open two separate stereo tracks to overlay the two pieces together (rather than having just one stereo tracks and essentially causing a train crash of audio).

Not entirely sure what you're saying. How are fade in/fade out relevant in this?

For example if you're editing two tracks together that aren't the start or end of their respective audio files, you would need to use a small amount of fade in/fade out overlap on each stereo tracks so that they don't just abruptly end and start as they merge into one another.

I've never understood Audacity. I use Audio Cleaning Labs which is much more user friendly and allows you to do some pretty neat stuff once you know how to use it!
- CommentAuthorScribe
- CommentTimeJun 26th 2013
NP: World War Z - Marco Beltrami

Nothing new here, but some fun action and drama music. Of course, the ever-present racing strings and ostinati are present. I like it best when the brass is growling
I love you all. Never change. Well, unless you want to!
- CommentAuthorchristopher
- CommentTimeJun 26th 2013
Scribe wrote
NP: NHK Special Human Naze Ningen ni Naretanoka - Naoki Sato

I have no idea what this is, but its absolutely gorgeous and the best thing I've heard from Sato so far.

That's an interesting score, with some of the most beautiful and some of the most annoying music I've ever heard on one album I believe it is the score to a Japanese documentary on humanity? "Transmigration," "Rest in Peace," and "Grief," are among my favorite cues from last year. They're incredibly beautiful.
- CommentAuthorScribe
- CommentTimeJun 26th 2013
christopher wrote

Scribe wrote
NP: NHK Special Human Naze Ningen ni Naretanoka - Naoki Sato

I have no idea what this is, but its absolutely gorgeous and the best thing I've heard from Sato so far.

That's an interesting score, with some of the most beautiful and some of the most annoying music I've ever heard on one album I believe it is the score to a Japanese documentary on humanity? "Transmigration," "Rest in Peace," and "Grief," are among my favorite cues from last year. They're incredibly beautiful.

I guess you don't care for the wailing vocals in tracks like "The Beginnings" then? I happen to love it, even though I normally find wailing vocals annoying, these are especially musical and well integrated with the instrumentals.
I love you all. Never change. Well, unless you want to!
- CommentAuthorScribe
- CommentTimeJun 26th 2013
NP: Salem's Lot - Christopher Gordon

Now there's some growling brass!
I love you all. Never change. Well, unless you want to!
- CommentAuthorchristopher
- CommentTimeJun 27th 2013 edited
Scribe wrote

christopher wrote

Scribe wrote
NP: NHK Special Human Naze Ningen ni Naretanoka - Naoki Sato

I have no idea what this is, but its absolutely gorgeous and the best thing I've heard from Sato so far.

That's an interesting score, with some of the most beautiful and some of the most annoying music I've ever heard on one album I believe it is the score to a Japanese documentary on humanity? "Transmigration," "Rest in Peace," and "Grief," are among my favorite cues from last year. They're incredibly beautiful.

I guess you don't care for the wailing vocals in tracks like "The Beginnings" then? I happen to love it, even though I normally find wailing vocals annoying, these are especially musical and well integrated with the instrumentals.

Yeah, I kind of hated that. I also wasn't fond of "Riddle," which I can only describe has happy dance-club music. The rest of the album is excellent. Even the non-vocal parts of the first half of those "Beginnings" tracks was great (it's that gorgeous theme from "Transmigration"), but the vocals were just not my thing. At all.

NP - PACIFIC RIM - Ramin Djawadi

Not for me. It's like a musical Twinkie. It seems to have substance, but when you try to ingest it there's just nothing there. And then you feel gross.
- CommentAuthorAtham
- CommentTimeJun 27th 2013
I know THAT feeling!!!
- CommentAuthorStavroula
- CommentTimeJun 27th 2013
Captain Future wrote
NP: The Borgias (VS, 2011) - Trevor Morris

Bought it on impulse today at a local record shop. Very nice, if not as compelling as The Tudors, season 4. I really like this composer more and more.

Volker

I like this too! Cesare and Lucrezia's theme and its variations is especially lyrical. It underlines that dormant Spanish element in their characters. Morris has done a wonderful work. I wonder why season 2 and season 3 don't have released soundtracks.
Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
- CommentAuthorCaptain Future
- CommentTimeJun 27th 2013
NP:
The Pillars of the Earth - Trevor Morris
Frank Herbert's The Children of Dune - Brian Tyler

TV scoring of the highest order.

Volker
Bach's music is vibrant and inspired.
- CommentAuthorErik Woods
- CommentTimeJun 27th 2013
Captain Future wrote
Frank Herbert's The Children of Dune - Brian Tyler

I never warmed up to this one. Temptrackitis of the highest order!

-Erik-
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
- CommentAuthorCaptain Future
- CommentTimeJun 27th 2013
Erik Woods wrote

Captain Future wrote
Frank Herbert's The Children of Dune - Brian Tyler

I never warmed up to this one. Temptrackitis of the highest order!

-Erik-

I think it blends incredibly well with the ToTo score.
If the temp track shows I probably don't recognize any of it. So what does it matter?
Bach's music is vibrant and inspired.
- CommentAuthorEdmund Meinerts
- CommentTimeJun 27th 2013
Children of Dune is overrated. I much prefer Timeline as a similar score from that period in Tyler's career but with better action music and less pseudo-ethnic noodling - and less temptrackitis.

Never heard Gladiator, Volker?
- CommentAuthorCaptain Future
- CommentTimeJun 27th 2013 edited
Thou shalt not mar my pleasure!

I can seriously hear nothing Gladiator here. I take CoD over Timeline anyday! CoD is a brilliant score!
Bach's music is vibrant and inspired.
- CommentAuthorMartijn
- CommentTimeJun 27th 2013
I am with the captain: it's one of Tyler's finest works, and the one that put him squarely on my radar.
I've aleays been hoping he'd do something equally dramatic and epic in future.
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
- CommentAuthorErik Woods
- CommentTimeJun 27th 2013 edited
Captain Future wrote
Thou shalt not mar my pleasure!

I can seriously hear nothing Gladiator here. I take CoD over Timeline anyday! CoD is a brilliant score!

"Slaves to Rome" "Honor Him" and "Now We Are Free" come into play in Children of Dune. As does Mancini's Lifeforce and Rabin's Deep Blue Sea.

Children of Dune, IMO, is anything but brilliant. The cheap sounding recording doesn't help matters either.

-Erik-
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!

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