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[Closed] Now Playing - Part XXI

General Discussions » Now Playing - Part XXI (Posts 2101 to 2130 of 2515)

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    •  
      CommentAuthorScribe
    • CommentTimeJan 13th 2008 edited
    NP: Pirates of the Caribbean: At World's End - Hans Zimmer

    This is my 95-minute personal expanded version, all in lossless format, combining the original album, the remixes, and some personal DVD rips that are quite good for having, unfortunately, minor SFX. Cue list:

    1) Hoist The Colours (Extended version DVD rip)
    2) Marry Me (The love theme suite, used here as an 'overture' to the whole score)
    3) More Steam (Sao Feng Suite)
    4) Floating On Starlight / An Evil On These Seas / Straight & True ("At Wits' End" from the album)
    5) Davy Jones' Locker ("Multiple Jacks" on the album)
    6) Witty Jack Is Back (part 2 of "Singapore" from the album)
    7) I See Dead People In Boats (Only first 5 minutes of the album track)
    8) Up Is Down
    9) Captain Elizabeth (part 1 of "Singapore")
    10) Destinies Intertwined (part 2 of "I See Dead People In Boats" used when Norrington frees Elizabeth)
    11) Just Good Business (from Remixes)
    12) King Elizabeth ("The Brethren Court" from album)
    13) Parlay
    14) You Have to Say It Right ("Calypso" from album)
    15) What Shall We Die For?
    16) Into The Maelstrom (DVD rip of first 7 minutes of battle)
    17) The Wedding (2nd part of "I Don't Think Now Is The Best Time")
    18) Swinging In The Rain (2:20 minute DVD rip from when Jack and Davy Jones are fighting)
    19) Heady Tonic (Dvd rip of final Jones confrontation and the "parachute" theme)
    20) Beckett Takes A Walk (1st part of "I Don't Think Now Is The Best Time")
    21) One Day
    22) Drink Up Me Hearties
    23) Hoist The Colours Suite
    I love you all. Never change. Well, unless you want to!
  2. NP: Youth w/o Youth (Golijov)

    !
    A butterfly thinks therefore I am
    • CommentAuthorMatt C
    • CommentTimeJan 13th 2008 edited
    NP: The Golden Compass (Alexandre Desplat)

    Not too overbearing, but not too restrained either as a big epic fantasy score. The recording doesn't sound as if all the instruments were recorded separately, but all in the same room -- the detail in the instrumentation is just superb and if Desplat does the same with another film to maintain that kind of clarity, by all means let him do so. And it works wonders in the film.

    Shadows in the Tree (Jeff Toyne)

    I'm not a sucker for suspense or thriller scores, but this score is a rare exception. Excellent violin solos and the entire product is mesmerizing from start to finish.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 13th 2008 edited
    Matt C wrote
    NP: The Golden Compass (Alexandre Desplat)

    The recording doesn't sound as if all the instruments were recorded separately, but all in the same room -- the detail in the instrumentation is just superb and if Desplat does the same with another film to maintain that kind of clarity, by all means let him do so.


    This is one aspect that REALLY bothers me. It sounds TOO polished and over produced. It's sounds like it was all recorded separately and the individual elements coming together doesn't SOUND right. There is no power like an a 90 piece orchestra recorded together sounds. I mean, imagine separating the LSO into their own sections and recording them separately. Players feed off of one another and certain aspects of their performance is based on this. I find The Golden Compass performance and mix to be lifeless.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorsdtom
    • CommentTimeJan 13th 2008
    And to think that Mercury at one time Erik recorded a symphony orchestra with one mike!
    listen to more classical music!
  6. Erik Woods wrote
    I mean, imagine separating the LSO into their own sections and recording them separately. Players feed off of one another and certain aspects of their performance is based on this.


    I agree the mix could be better, but this is a truly strange defense. In a 90 piece orchestra, what use would there be in having the first violins SEE the clarinet player? In a string quartet, or a whole string section, or even a chamber orchestra, I could buy that argument. But once your orchestra gets above 40 players, they're not going to be watching other sections, unless it's a concerto piece where they aren't playing but watching a soloist for long stretches of the piece. They'll be watching the conductor or the leader of their section or the written score, otherwise it will be all over the place. It's unlikely seating would even permit them to have lines of sight to much, if any, of the others sections if it's anything like a concert hall set-up.

    Considering the trade-off, for the sake of the portions of the score where the Dust theme was in play, I think it was worth going this way. It would be nice to hear 'Sky Ferry' or 'Battle of the Tartars' in a concert hall with proper dynamics though, as they would definitely benefit from the mass.
    A butterfly thinks therefore I am
    •  
      CommentAuthorDavid
    • CommentTimeJan 13th 2008
    I agree with Erik. While in a large orchestra, the players may not visually take cues from other players, there is no doubt a subconscious aspect that comes into play when working with the entire orchestra. Even if the players don't feed off each other, recording the sections separately and mixing them together is unnatural and cold -- too perfect. I can understand recording percussion and choir separately, but only too an extent. The entire ensemble really should be recorded together for the best performance.
  8. I agree the dynamics of the sound will differ when you do it this way. (Elmer Bernstein and Desplat obviously agree, otherwise they wouldn't do it!) My point is that I don't think 'playing off' another performer is terribly significant a factor with this kind of scale.

    NP: I am Legend (Newton-Howard)

    Not bad. A lot more epic and choral than I expected - I thought this would be a very quiet score.
    I'm inclined to think that in a film about the empty streets of New York, someone was too tempted to temp in some cues from Christopher Gordon's On the Beach (set in the empty streets of Melbourne after a nuclear holocaust). I say this because Gordon's ascending trumpet theme suddenly appears 2:31-2:40 of 'The Pier' in all but the last note. Surely a coincidence. biggrin
    A butterfly thinks therefore I am
    •  
      CommentAuthorDemetris
    • CommentTimeJan 13th 2008
    franz_conrad wrote
    NP: Youth w/o Youth (Golijov)

    !


    smile THAT good eh? wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008 edited
    Good Morning!!!!!!!!!

    NP: Stargate

    Giza,1928, Stargate opens, Mastaga drag, procession, battle of the piramyd, Kafa returns...are terrific. Right?

    And what about the delicios dissonant Entering the Stargate and The other side????

    EDIT

    Arnold's better score!!
  11. Better!
    A butterfly thinks therefore I am
    •  
      CommentAuthorBregt
    • CommentTimeJan 13th 2008
    franz_conrad wrote
    I say this because Gordon's ascending trumpet theme suddenly appears 2:31-2:40 of 'The Pier' in all but the last note. Surely a coincidence. biggrin

    Really? I haven't noticed it.
    Anyway, On The Beach is a good idea to play now. cool
    Kazoo
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008
    Erik Woods wrote
    Matt C wrote
    NP: The Golden Compass (Alexandre Desplat)

    The recording doesn't sound as if all the instruments were recorded separately, but all in the same room -- the detail in the instrumentation is just superb and if Desplat does the same with another film to maintain that kind of clarity, by all means let him do so.


    This is one aspect that REALLY bothers me. It sounds TOO polished and over produced. It's sounds like it was all recorded separately and the individual elements coming together doesn't SOUND right. There is no power like an a 90 piece orchestra recorded together sounds. I mean, imagine separating the LSO into their own sections and recording them separately. Players feed off of one another and certain aspects of their performance is based on this. I find The Golden Compass performance and mix to be lifeless.

    -Erik-


    I can agree with you here, Erik.
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008
    Scribe wrote
    NP: Pirates of the Caribbean: At World's End - Hans Zimmer

    This is my 95-minute personal expanded version, all in lossless format, combining the original album, the remixes, and some personal DVD rips that are quite good for having, unfortunately, minor SFX. Cue list:



    You forgot the Lord becket Stuff, Wich appears a lot of times in the movie, and it's a great suite.
    • CommentAuthormsia2k75
    • CommentTimeJan 13th 2008 edited
    NP: Eight Below (Mark Isham)

    For some reason it took me time to appreciate it, but right now, i'm having a lot of fun with it! punk
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008
    NP:Stargarte (Arnold)

    Listen this score I re-discover Arnold sounds is like hear Horner or Silvestri for the first time.

    This metals....this trumpets, this Brass....


    PS: Then Erik ask me why I say Cuthroath island sounds like Stargate..... listen track 29 from Stargate original Realease and if you don't find nothing in common then we talk...
    •  
      CommentAuthorMarselus
    • CommentTimeJan 13th 2008
    Scribe wrote
    NP: Pirates of the Caribbean: At World's End - Hans Zimmer

    16) Into The Maelstrom (DVD rip of first 7 minutes of battle)
    18) Swinging In The Rain (2:20 minute DVD rip from when Jack and Davy Jones are fighting)
    19) Heady Tonic (Dvd rip of final Jones confrontation and the "parachute" theme)


    This are the three cues missing which I´d love to have (well we have the "Parachute Theme actually); above all, the first part of third one, I just love the choir work there.
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorScribe
    • CommentTimeJan 13th 2008
    Nautilus wrote
    Scribe wrote
    NP: Pirates of the Caribbean: At World's End - Hans Zimmer

    This is my 95-minute personal expanded version, all in lossless format, combining the original album, the remixes, and some personal DVD rips that are quite good for having, unfortunately, minor SFX. Cue list:



    You forgot the Lord becket Stuff, Wich appears a lot of times in the movie, and it's a great suite.


    I actually prefer to listen to include that suite as part of my DMC "expanded" version along with "The Heart of Davy Jones" cue, because while most of the material is not actually in DMC, Beckett's theme is introduced in that film but is almost completely missing from the album.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008
    Scribe wrote
    Nautilus wrote
    Scribe wrote
    NP: Pirates of the Caribbean: At World's End - Hans Zimmer

    This is my 95-minute personal expanded version, all in lossless format, combining the original album, the remixes, and some personal DVD rips that are quite good for having, unfortunately, minor SFX. Cue list:



    You forgot the Lord becket Stuff, Wich appears a lot of times in the movie, and it's a great suite.


    I actually prefer to listen to include that suite as part of my DMC "expanded" version along with "The Heart of Davy Jones" cue, because while most of the material is not actually in DMC, Beckett's theme is introduced in that film but is almost completely missing from the album.


    Well...you have beckett's theme in Singapore, Parlay and I don't think now is the best time in the original score, and in the movie the Becketts them appears 5 or 6 times, including a 3 minutes piece when Beckett is talking with Jack.....

    So you can put this suite in your At world's End selection

    NP: Godzilla

    In the right mood to listen this loudish Arnold Metal Style.
    • CommentAuthorTimmer
    • CommentTimeJan 13th 2008
    NP : PORTRAIT OF A LADY - Wojchiech Kilar



    Stunningly gorgeous score cool

    Does this entitle me to have my - 5 points removed now Michael? cheesy wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 13th 2008 edited
    franz_conrad wrote
    In a 90 piece orchestra, what use would there be in having the first violins SEE the clarinet player? In a string quartet, or a whole string section, or even a chamber orchestra, I could buy that argument. But once your orchestra gets above 40 players, they're not going to be watching other sections, unless it's a concerto piece where they aren't playing but watching a soloist for long stretches of the piece.


    I'm not talking about "watching" other players play, I'm talking about the players listening to the other sections play while they are either resting or playing along. The players can feel the energy of the entire piece when playing together and that will in turn will be represented in their own performance.

    I've witnessed this during Michael Giacchino recording sessions. There were moments where after playing a piece together for the first time that you could tell that the entire orchestra was feeling the energy of the music. After finishing they would all start chattering, laughing or looking around at other members of the orchestra with this look of amazement on their faces. They would then play the piece again and the performance this time had a bit more gusto. Once the piece was finally recorded and then a break was called, members of the orchestra would run to the booth just to hear the playback. I don't think you could get the same energy or sheer joy of performing as a full orchestra by playing your parts separately. While it still would be flawlessly performed I doubt you would have the same emotional performance as you would when played together as a group. Also, when playing together players can hear what other instruments are playing along with them. This can directly affect the performance as well. They might make adjustments to their performance to compensate for that.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeJan 13th 2008
    Nautilus wrote
    Scribe wrote
    Nautilus wrote
    You forgot the Lord becket Stuff, Wich appears a lot of times in the movie, and it's a great suite.


    I actually prefer to listen to include that suite as part of my DMC "expanded" version along with "The Heart of Davy Jones" cue, because while most of the material is not actually in DMC, Beckett's theme is introduced in that film but is almost completely missing from the album.


    Well...you have beckett's theme in Singapore, Parlay and I don't think now is the best time in the original score, and in the movie the Becketts them appears 5 or 6 times, including a 3 minutes piece when Beckett is talking with Jack.....

    So you can put this suite in your At world's End selection


    I meant that Beckett's theme is missing from the DMC album, not from the AWE album. So I put the Beckett suite in DMC to give his theme a better representation there.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 13th 2008
    Nautilus wrote
    PS: Then Erik ask me why I say Cuthroath island sounds like Stargate..... listen track 29 from Stargate original Realease and if you don't find nothing in common then we talk...


    A very large, sweeping, thematic piece. You could say that about countless scores.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorBregt
    • CommentTimeJan 13th 2008
    THE PEACEMAKER | hans zimmer

    Not the 2CD version, but a more complete edition than the official cd. When that main theme comes in, it brings joy, adrenaline and a smile. Too long ago I heard this kind of music. cheesy
    Kazoo
    •  
      CommentAuthorBobdH
    • CommentTimeJan 13th 2008
    That main theme rocks indeed! I'm addicted to the endcredits version! punk
  26. Timmer wrote
    NP : PORTRAIT OF A LADY - Wojchiech Kilar

    Stunningly gorgeous score cool


    I so absolutely and completely agree. I am tempted to stop my Golden Compass right now to put some Kilar into my driver. Or... no, wait, the Ice Bear Fight is coming up. No chance in hell... biggrin
    •  
      CommentAuthorNautilus
    • CommentTimeJan 13th 2008
    NP:Poltergeist II

    I enjoy more this sequel than the first one. Specially the heroic (Air force one) theme for the chairman (?).
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 13th 2008 edited
    NP: Medal of Honor: Airborne - Michael Giacchino

    The way Michael integrates older themes into this new score is nothing but spectacular. One prime example... the "Frontline Theme" in "Wreckage Of Nijmega." I don't even think the theme got this type of treatment in the original. Superb scoring.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  29. Erik Woods wrote
    franz_conrad wrote
    In a 90 piece orchestra, what use would there be in having the first violins SEE the clarinet player? In a string quartet, or a whole string section, or even a chamber orchestra, I could buy that argument. But once your orchestra gets above 40 players, they're not going to be watching other sections, unless it's a concerto piece where they aren't playing but watching a soloist for long stretches of the piece.


    I'm not talking about "watching" other players play, I'm talking about the players listening to the other sections play while they are either resting or playing along. The players can feel the energy of the entire piece when playing together and that will in turn will be represented in their own performance.

    I've witnessed this during Michael Giacchino recording sessions. There were moments where after playing a piece together for the first time that you could tell that the entire orchestra was feeling the energy of the music. After finishing they would all start chattering, laughing or looking around at other members of the orchestra with this look of amazement on their faces. They would then play the piece again and the performance this time had a bit more gusto. Once the piece was finally recorded and then a break was called, members of the orchestra would run to the booth just to hear the playback. I don't think you could get the same energy or sheer joy of performing as a full orchestra by playing your parts separately. While it still would be flawlessly performed I doubt you would have the same emotional performance as you would when played together as a group. Also, when playing together players can hear what other instruments are playing along with them. This can directly affect the performance as well. They might make adjustments to their performance to compensate for that.

    -Erik-


    Ah ok. I get what you mean.

    I do think a good conductor should be able to get there with separated sections though. Obviously Williams does it in some form whenever he separated choir and orchestra and played to 'click' on PHANTOM MENACE and REVENGE OF THE SITH.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 13th 2008
    franz_conrad wrote
    Ah ok. I get what you mean.

    I do think a good conductor should be able to get there with separated sections though. Obviously Williams does it in some form whenever he separated choir and orchestra and played to 'click' on PHANTOM MENACE and REVENGE OF THE SITH.


    That's a little different.... especially for timing and mixing. The chorus usually needs more work and more takes to get things right.

    -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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