garcia27
10-27-2009, 06:47 PM
Garcia, please reupload this. File is not found.
I changed. New hot links.
Download it while available!!
I changed. New hot links.
Download it while available!!
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Lens of Truth
10-27-2009, 09:14 PM
Masamichi Amano - Ninja Resurrection
|VBR|V-0|100MB|
I'm absolutely blown away by the thrill ride that is the final track of this score. It has everything, a great summation! Amano knows how to do synth properly. What else is there? Rozsa-like grandeur, wistful orientalism, gregorian chant, avant-garde effects, great action. I even like the cheesy rock bits.
Must see the anime now :)
Thank you!
|VBR|V-0|100MB|
I'm absolutely blown away by the thrill ride that is the final track of this score. It has everything, a great summation! Amano knows how to do synth properly. What else is there? Rozsa-like grandeur, wistful orientalism, gregorian chant, avant-garde effects, great action. I even like the cheesy rock bits.
Must see the anime now :)
Thank you!
kinpuppalick
10-27-2009, 09:58 PM
Garcia, thank you!
arthierr
10-28-2009, 10:52 PM
I don't remember if this masterpiece has been posted here, so here it is:
Symphony No. 1: The Lord Of The Rings (1988)
Composed By: Johan De Meij
Performed by: London Symphony Orchestra
|MP3|320|91,5 Mb|
Credits go to the original ripper
http://rapidshare.com***/files/299074019/Symphony_De_Meij.zip
Remove the *** in the url
From http://band-chat.net/research/documents/rings/Preface.html
Johan de Meij’s first symphony, “The Lord of the Rings”, is based upon the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from Tolkien’s books. The work has been composed for concert band, augmented by piano.
The movements are:
I. “Gandalf” (The Wizard)
The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motiff which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful grey horse, “Shadowfax”.
II. “Lothlorien” (The Elvenwood)
The second movement is an impression of Lothlorien, the elvenwood, with its beautiful trees, plants, exotic birds, expressed through woodwind solos. The meeting of the Hobbit Frodo with the Lady Galadriel, a silver basin in the wood, Frodo glimpses three visions, the last of which, a large ominous Eye, greatly upsets him.
III. “Gollum” (Smaegol)
The third movement describes the monstrous creature Gollum, a slimy, shy being represented by the soprano saxophone. It mumbles and talks to itself, hisses and lisps, whines and snickers, is alternately pitiful and malicious, is continually fleeing and looking for his cherished treasure, the Ring.
IV. “Journey in the Dark”
The forth movement describes the laborious journey of the Fellowship of the Ring, headed by the wizard Gandalf, through the dark tunnels of the Mines of Moria. The slow walking cadenza and the fear are clearly audible in the monotonous rhythm of the low brass, piano, and percussion. After a wild pursuit by hostile creatures, the Orks, Gandalf is engaged in a battle with a horrible monster, the Balrog, and crashes from the subterranean bridge of Khazad-Dum in a fanthomless abyss. To the melancholy tones of a marcia funebre, the bewildered Companions trudge on, looking for the only way out of the Mines, the East Gate of Moria.
V. “Hobbits”
The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance. The hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant not, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter of Tolkien’s novels, “The Grey Havens”, in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.
This symphony was written in the period between March 1984 and December 1987 and had its premiere in Brussels on March 15th, 1988 by the “Groot Harmonie-orkest van de Gidsen”, under the baton of Norbert Nozy. The Dutch premiere was given by the “Koninklijke Militaire Kapel” (Royal Military Band) conducted by Pierre Kuypers, on June 2nd, 1988 at Kerkrade during the advance presentation of the 1989 World Music Competition. With this symphony, Johan de Meij became the winner of the Sudler International Wind Band Composition Competition 1989, where the composition was selected by an international jury from 143 entries representing 27 different countries.[4]
Symphony No. 1: The Lord Of The Rings (1988)
Composed By: Johan De Meij
Performed by: London Symphony Orchestra
|MP3|320|91,5 Mb|
Credits go to the original ripper
http://rapidshare.com***/files/299074019/Symphony_De_Meij.zip
Remove the *** in the url
From http://band-chat.net/research/documents/rings/Preface.html
Johan de Meij’s first symphony, “The Lord of the Rings”, is based upon the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five separate movements, each illustrating a personage or an important episode from Tolkien’s books. The work has been composed for concert band, augmented by piano.
The movements are:
I. “Gandalf” (The Wizard)
The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motiff which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful grey horse, “Shadowfax”.
II. “Lothlorien” (The Elvenwood)
The second movement is an impression of Lothlorien, the elvenwood, with its beautiful trees, plants, exotic birds, expressed through woodwind solos. The meeting of the Hobbit Frodo with the Lady Galadriel, a silver basin in the wood, Frodo glimpses three visions, the last of which, a large ominous Eye, greatly upsets him.
III. “Gollum” (Smaegol)
The third movement describes the monstrous creature Gollum, a slimy, shy being represented by the soprano saxophone. It mumbles and talks to itself, hisses and lisps, whines and snickers, is alternately pitiful and malicious, is continually fleeing and looking for his cherished treasure, the Ring.
IV. “Journey in the Dark”
The forth movement describes the laborious journey of the Fellowship of the Ring, headed by the wizard Gandalf, through the dark tunnels of the Mines of Moria. The slow walking cadenza and the fear are clearly audible in the monotonous rhythm of the low brass, piano, and percussion. After a wild pursuit by hostile creatures, the Orks, Gandalf is engaged in a battle with a horrible monster, the Balrog, and crashes from the subterranean bridge of Khazad-Dum in a fanthomless abyss. To the melancholy tones of a marcia funebre, the bewildered Companions trudge on, looking for the only way out of the Mines, the East Gate of Moria.
V. “Hobbits”
The fifth movement expresses the carefree and optimistic character of the Hobbits in a happy folk dance. The hymn that follows emanates the determination and noblesse of the hobbit folk. The symphony does not end on an exuberant not, but is concluded peacefully and resigned, in keeping with the symbolic mood of the last chapter of Tolkien’s novels, “The Grey Havens”, in which Frodo and Gandalf sail away in a white ship and disappear slowly beyond the horizon.
This symphony was written in the period between March 1984 and December 1987 and had its premiere in Brussels on March 15th, 1988 by the “Groot Harmonie-orkest van de Gidsen”, under the baton of Norbert Nozy. The Dutch premiere was given by the “Koninklijke Militaire Kapel” (Royal Military Band) conducted by Pierre Kuypers, on June 2nd, 1988 at Kerkrade during the advance presentation of the 1989 World Music Competition. With this symphony, Johan de Meij became the winner of the Sudler International Wind Band Composition Competition 1989, where the composition was selected by an international jury from 143 entries representing 27 different countries.[4]
tangotreats
10-28-2009, 11:33 PM
I don't remember if this masterpiece has been posted here, so here it is:
http://forums.ffshrine.org/showpost.php?p=1166643&postcount=471
;)
http://forums.ffshrine.org/showpost.php?p=1166643&postcount=471
;)
arthierr
10-29-2009, 12:40 AM
Oops, you're right. Well, there are so many albums posted here double-posts might occur. :p Anyway, it's so good that it deserves a repost. ;)
Sirusjr
10-29-2009, 03:47 AM
Thanks for the re-post Arthierr! I seem to have missed it the first time! Absolutely wonderful indeed.
Lens of Truth
10-29-2009, 01:04 PM
As suggested by Arthierr, a re-post of one of the most diaphonous fantasy scores ever composed:
ROBERT FOLK - THE NEVERENDING STORY II
(With songs by Georgio Moroder*)
FLAC
http://www.megaupload.com/?d=WVU2E1X0
Artwork (courtesy of thecrimelounge)
http://rapidshare.com/files/173541586/The_Neverending_Story_2.rar
Thanks to heffalump for the lossless upload.
Review by our distinguished colleague Mr Treats:
The Neverending Story, a 1984 fantasy directed by the legendary Wolfgang Petersen, received a (pretty rancid) electronic score by Klaus Doldinger and Georgio Moroder. Its sequel (released six years later in 1990) on the other hand, was blessed with a sumptuous, orchestral score by Robert Folk; though Moroder did contribute a handful of songs for the film, it is Folk's sensitive symphonic masterpiece that is duly remembered today.
Folk's background, education, and experience is frighteningly impressive, and yet he remains one of the most sorely under-appreciated composers in the industry today. A graduate of the prestiguous Juilliard School, in addition to his vast filmography, he has conducted most major symphony orchestras across the globe; he also has a number of splendid concert hall works to his name. He is also a talented orchestrator.
He is most famous today for his good-natured scores for the Police Academy series.
The Neverending Story II is, like most of Folk's compositions, a magnificent and formidable work. Stylistically, it owes a debt to James Horner's fantasy scores of the same time period - but despite the obvious influences, and its inevitably derivative nature, it never descends into plagiarism or pastiche - this is very much Folk's party - his trademark orchestral style is plastered all over it. It takes a talented composer to draw inspiration from your contemporaries, but still maintain unmistakeable individuality - not to mention honesty and earnest beauty.
Folk's ideas are considerably better than the orchestra performing on this recording - obviously limited in size, rehearsal time, and competence, they nevertheless perform with gusto and enthusiasm. That notwithstanding, they do make more than their fair share of mistakes - nowhere near as bad as Horner's Battle Beyond The Stars - but there are still some cringe-worthy bum notes in here. The inherent clarity of Folk's tight, fast brass writing is often lost in a molasses of screaming trumpets who appear to be having a hard time getting any notes out at all - let alone the right ones. The French horns and trombones fare a little better and despite all this, the score sounds lovely. The less than perfect performance somehow adds to its endearing quality, and makes it seem all the more miraculous that good music could emerge from such an unpromising set of circumstances.
So, to the score - and what a score.
I am sorely tempted to offer a track by track analysis, but I will restrain and instead offer a more general analysis and selected highlights. Searching For Fantasia begins with a crafty statement of a secondary theme before a brass fanfare launches into the gorgeous main theme, performed by strings. An ethereal female choir (and later on, an ethnic flute) take up this unashamedly romantic melody and it develops with Golden Age harmonies and unimaginably elegant orchestrations.
The score continues with incredible warmth and beauty. Folk is never manipulative - there is always a feeling of intimacy, and restraint. I would like to clarify this point, however, as the term "restrained" is so often used as a euphemism for lacking, detatched, emotionless, simplistic, etc. The beauty of Folk's work here is that he never over-eggs the pudding, but conversely he never leaves it lacking. He says what needs to be said - nothing more, nothing less. There is a mysterious feeling of leanness in this score - it's as if all the fat has been chopped off and you've been left with the healthy, nutritional bits. Every cue feels like an event. The music is never boring, never cliched, never misplaced.
Cues like "Flight Of The Dragon" feel like mini-symphonies - the pace changes, the mood changes, melodies come and go, and yet it remains cohesive, rousing, and appealing. It's still amazing that Folk penned such an intelligent score.
There is everything - absolutely everything - here that is good and wholesome about film music. It's a cliche, but they really don't make them like this any more. In a climate where modern film scoring is virtually dead as an artform, it takes a trip back to 1990, where composers were allowed to write music like this. This is what it's all about.
*Warning: may offend and/or make the score sound even better ;)
-----------------------------
EDIT: just read that a new movie is in the works - very likely a 'reboot' (Steve Jablonsky FTW!!).
ROBERT FOLK - THE NEVERENDING STORY II
(With songs by Georgio Moroder*)
FLAC
http://www.megaupload.com/?d=WVU2E1X0
Artwork (courtesy of thecrimelounge)
http://rapidshare.com/files/173541586/The_Neverending_Story_2.rar
Thanks to heffalump for the lossless upload.
Review by our distinguished colleague Mr Treats:
The Neverending Story, a 1984 fantasy directed by the legendary Wolfgang Petersen, received a (pretty rancid) electronic score by Klaus Doldinger and Georgio Moroder. Its sequel (released six years later in 1990) on the other hand, was blessed with a sumptuous, orchestral score by Robert Folk; though Moroder did contribute a handful of songs for the film, it is Folk's sensitive symphonic masterpiece that is duly remembered today.
Folk's background, education, and experience is frighteningly impressive, and yet he remains one of the most sorely under-appreciated composers in the industry today. A graduate of the prestiguous Juilliard School, in addition to his vast filmography, he has conducted most major symphony orchestras across the globe; he also has a number of splendid concert hall works to his name. He is also a talented orchestrator.
He is most famous today for his good-natured scores for the Police Academy series.
The Neverending Story II is, like most of Folk's compositions, a magnificent and formidable work. Stylistically, it owes a debt to James Horner's fantasy scores of the same time period - but despite the obvious influences, and its inevitably derivative nature, it never descends into plagiarism or pastiche - this is very much Folk's party - his trademark orchestral style is plastered all over it. It takes a talented composer to draw inspiration from your contemporaries, but still maintain unmistakeable individuality - not to mention honesty and earnest beauty.
Folk's ideas are considerably better than the orchestra performing on this recording - obviously limited in size, rehearsal time, and competence, they nevertheless perform with gusto and enthusiasm. That notwithstanding, they do make more than their fair share of mistakes - nowhere near as bad as Horner's Battle Beyond The Stars - but there are still some cringe-worthy bum notes in here. The inherent clarity of Folk's tight, fast brass writing is often lost in a molasses of screaming trumpets who appear to be having a hard time getting any notes out at all - let alone the right ones. The French horns and trombones fare a little better and despite all this, the score sounds lovely. The less than perfect performance somehow adds to its endearing quality, and makes it seem all the more miraculous that good music could emerge from such an unpromising set of circumstances.
So, to the score - and what a score.
I am sorely tempted to offer a track by track analysis, but I will restrain and instead offer a more general analysis and selected highlights. Searching For Fantasia begins with a crafty statement of a secondary theme before a brass fanfare launches into the gorgeous main theme, performed by strings. An ethereal female choir (and later on, an ethnic flute) take up this unashamedly romantic melody and it develops with Golden Age harmonies and unimaginably elegant orchestrations.
The score continues with incredible warmth and beauty. Folk is never manipulative - there is always a feeling of intimacy, and restraint. I would like to clarify this point, however, as the term "restrained" is so often used as a euphemism for lacking, detatched, emotionless, simplistic, etc. The beauty of Folk's work here is that he never over-eggs the pudding, but conversely he never leaves it lacking. He says what needs to be said - nothing more, nothing less. There is a mysterious feeling of leanness in this score - it's as if all the fat has been chopped off and you've been left with the healthy, nutritional bits. Every cue feels like an event. The music is never boring, never cliched, never misplaced.
Cues like "Flight Of The Dragon" feel like mini-symphonies - the pace changes, the mood changes, melodies come and go, and yet it remains cohesive, rousing, and appealing. It's still amazing that Folk penned such an intelligent score.
There is everything - absolutely everything - here that is good and wholesome about film music. It's a cliche, but they really don't make them like this any more. In a climate where modern film scoring is virtually dead as an artform, it takes a trip back to 1990, where composers were allowed to write music like this. This is what it's all about.
*Warning: may offend and/or make the score sound even better ;)
-----------------------------
EDIT: just read that a new movie is in the works - very likely a 'reboot' (Steve Jablonsky FTW!!).
tangotreats
10-29-2009, 11:17 PM
NEWS
Hope this is relevant - I like to drop occasional snippets in here, and I think this qualifies as possibly the most bizzare pieces of film scoring news of all time. It's bad news for Toshihiko Sahashi fans - but it may not turn out to be bad after all... To elaborate:
Toshihiko Sahashi is off the new Ultraman movie, having scored a number of Ultraman TV series' and previous films - including last year's Super 8 Ultra Brothers. Now, I love Sahashi as much as anybody, but I have to admit that I've been thinking for some time that his usefulness in the Ultraman franchise was coming to an end. Not through any malice, or lack of quality in his scores - merely that I suspect he may be running out of things to say.
So, in his place, is... MIKE VERTA. For those who are not familiar with Mr Verta, he's a young American composer who has a symphonic style rather remininscent of John Williams. He apparently had a relationship with the director of this new film (they worked together on another project some years ago) and this is how he ended up working on Ultraman. Have you ever heard something so thoroughly bizzare? (Apart from Keith Emerson on Godzilla Final Wars...)
Verta has discussed his score (but not released any samples) on an Ultraman forum, and says his score will be "epic orchestral" with warlike percussion and some other strange instruments added to the mix. When Verta says "Epic Orchestral" I believe him; he's no Jablonsky. On his website (www.mikeverta.com) he has some scores for free download, including 2004's Forbidden Warrior. LISTEN TO IT RIGHT NOW, and tell me you're not a little bit excited to hear he's on Ultraman. ;)
Peace! TT
Hope this is relevant - I like to drop occasional snippets in here, and I think this qualifies as possibly the most bizzare pieces of film scoring news of all time. It's bad news for Toshihiko Sahashi fans - but it may not turn out to be bad after all... To elaborate:
Toshihiko Sahashi is off the new Ultraman movie, having scored a number of Ultraman TV series' and previous films - including last year's Super 8 Ultra Brothers. Now, I love Sahashi as much as anybody, but I have to admit that I've been thinking for some time that his usefulness in the Ultraman franchise was coming to an end. Not through any malice, or lack of quality in his scores - merely that I suspect he may be running out of things to say.
So, in his place, is... MIKE VERTA. For those who are not familiar with Mr Verta, he's a young American composer who has a symphonic style rather remininscent of John Williams. He apparently had a relationship with the director of this new film (they worked together on another project some years ago) and this is how he ended up working on Ultraman. Have you ever heard something so thoroughly bizzare? (Apart from Keith Emerson on Godzilla Final Wars...)
Verta has discussed his score (but not released any samples) on an Ultraman forum, and says his score will be "epic orchestral" with warlike percussion and some other strange instruments added to the mix. When Verta says "Epic Orchestral" I believe him; he's no Jablonsky. On his website (www.mikeverta.com) he has some scores for free download, including 2004's Forbidden Warrior. LISTEN TO IT RIGHT NOW, and tell me you're not a little bit excited to hear he's on Ultraman. ;)
Peace! TT
arthierr
10-29-2009, 11:46 PM
Frankly, as much as I apprceciate Sahashi's music, it was sure becoming a bit repetitive, so it's good for the franchise to hire someone new to bring a new sound.
This new choice is rather odd indeed, but after having listened to some samples in his site, it seems it's a marvelous choice! Very close to williams style (almost too much, could beat McNeely), and a very professional mastery of the orchestra. This lad is very promising.
Downloading all samples now! Maybe a repost in a pack later.
This new choice is rather odd indeed, but after having listened to some samples in his site, it seems it's a marvelous choice! Very close to williams style (almost too much, could beat McNeely), and a very professional mastery of the orchestra. This lad is very promising.
Downloading all samples now! Maybe a repost in a pack later.
arthierr
10-29-2009, 11:58 PM
Thanks for the repost, Lens. And what a great and thoughtful idea to include this review, which by the way is remarkably well done. ;)
L'exp�dition Jules Verne: A Bord Du Trois-M�ts Belem
Artist: John Scott
Play Time: Disc 1 (56min 4sec) | Disc 2 (59min 47sec)
All tracks @ 320 Kbps
Disc 1 (http://rapidshare.com/files/286314046/L_Exp__dition_Jules_Verne_A_Bord_Du_Trois-M__ts_Belem_-_Disc_1.zip) | Disc 2 (http://rapidshare.com/files/286327102/L_Exp__dition_Jules_Verne_A_Bord_Du_Trois-M__ts_Belem_-_Disc_2.zip)
I just had the time to listen to this one and it's absolutely gorgeous! Scott is once again a real magician who can express so much beauty with his music.
For people having missed it: GRAB IT NOW! Satisfaction guaranteed.
L'exp�dition Jules Verne: A Bord Du Trois-M�ts Belem
Artist: John Scott
Play Time: Disc 1 (56min 4sec) | Disc 2 (59min 47sec)
All tracks @ 320 Kbps
Disc 1 (http://rapidshare.com/files/286314046/L_Exp__dition_Jules_Verne_A_Bord_Du_Trois-M__ts_Belem_-_Disc_1.zip) | Disc 2 (http://rapidshare.com/files/286327102/L_Exp__dition_Jules_Verne_A_Bord_Du_Trois-M__ts_Belem_-_Disc_2.zip)
I just had the time to listen to this one and it's absolutely gorgeous! Scott is once again a real magician who can express so much beauty with his music.
For people having missed it: GRAB IT NOW! Satisfaction guaranteed.
streichorchester
10-30-2009, 07:16 AM
including 2004's Forbidden Warrior.
Okay, this has to have been temp-tracked with Star Wars in spots.
edit: and E.T.
Okay, this has to have been temp-tracked with Star Wars in spots.
edit: and E.T.
Valyrious
10-30-2009, 07:24 AM
I just found these, and as I'm a big fan of Kaoru Wada and of his wonderful OSTs for Inuyasha, I'd like to share them with you. This is quite a lucky find, because everything (except Wind) is encoded in glorious 320 kbps! Enjoy. :)
Inuyasha OST / Movies / Wind
Composed by KAORU WADA
Mp3 320 kbps
Credits to the original uploader and smafra for reposting
Any chance for a reup?
Inuyasha OST / Movies / Wind
Composed by KAORU WADA
Mp3 320 kbps
Credits to the original uploader and smafra for reposting
Any chance for a reup?
Sirusjr
10-31-2009, 06:38 AM
Inuyasha - Wind Symphonic Themes Collection
|MP3|192kbps|67MB|
|Orchestral|Lush|Magical|
http://anonym.to/?http://www.sendspace.com/file/p82tw7
PSW: smile
|MP3|192kbps|67MB|
|Orchestral|Lush|Magical|
http://anonym.to/?http://www.sendspace.com/file/p82tw7
PSW: smile
Grunthor
10-31-2009, 07:54 PM
Thanks Sirusjr :)
JohnGalt
11-01-2009, 12:56 AM
Hey folks!
I'm really appreciating all the fresh music that's coming in here....hard to keep on top of it all with work and life. That being said, I feel like giving back a bit in my own special way....I have a new piece to show off, one that's not related to any project so I can show it off.
I wrote it to test out a more robust orchestral template that I've been polishing. I'm very pleased with the sound, so I'm hoping you'll all enjoy the piece too.
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
Thanks for listening! :)
I'm really appreciating all the fresh music that's coming in here....hard to keep on top of it all with work and life. That being said, I feel like giving back a bit in my own special way....I have a new piece to show off, one that's not related to any project so I can show it off.
I wrote it to test out a more robust orchestral template that I've been polishing. I'm very pleased with the sound, so I'm hoping you'll all enjoy the piece too.
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
Thanks for listening! :)
Sirusjr
11-01-2009, 02:13 AM
Wonderful mathazzar! You saying that is synthesized!? Sounds fantastic.
JohnGalt
11-01-2009, 02:28 AM
Glad you like it, Sirius! :) And yeah, it's all done on my computer with sampled instruments.
baschfire
11-01-2009, 02:43 AM
That's an amazing piece Mathazzar. I think i've found some inspiration for composing again :)
LordColin
11-01-2009, 04:32 AM
LISTEN TO IT RIGHT NOW, and tell me you're not a little bit excited to hear he's on Ultraman. ;)
Wow, the music of Mike Verta sounds really beatyful, cant wait to hear more from him :D
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
You have a nice sound! Sounds really good. May I ask what samples you use?
I will upload some music from myself too in a few days.. ;)
Keep up the good work!
Wow, the music of Mike Verta sounds really beatyful, cant wait to hear more from him :D
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
You have a nice sound! Sounds really good. May I ask what samples you use?
I will upload some music from myself too in a few days.. ;)
Keep up the good work!
JohnGalt
11-01-2009, 05:27 AM
Happy to inspire, baschfire! I'm eager to hear what comes of it. Same to you, LordColin. The samples would literally take forever to list as my collection is a bit ridiculous, but suffice it to say you're hearing lots of EWQLSO, VSL, and ProjectSAM stuff, plus a wealth of others for colour and layering and the more exotic instruments.
LordColin
11-01-2009, 03:17 PM
OK, I use these too, only have to find me a program best to record it with. I'm writing in notes and most note programmes dont sound very nice when you record it. I'm working on a big orchestral adventurous End Credits now.
jakob
11-01-2009, 07:56 PM
Wow, there's all sorts of great stuff in this thread! Thanks for everyone's hard work!
Sirusjr
11-01-2009, 10:00 PM
FILMharmonic Orchestra Prague - Monster Hunter 3 (Tri) Original Soundtrack
|MP3|320kbps|340MB|2CD|
|Originally Uploaded by Somnus|
|Adventurous/Grand/Orchestral/Lush|
http://anonym.to/?http://rapidshare.com/files/301068969/MnstrHntr3.part1.rar
http://anonym.to/?http://rapidshare.com/files/301078195/MnstrHntr3.part2.rar
PSW: smile
|MP3|320kbps|340MB|2CD|
|Originally Uploaded by Somnus|
|Adventurous/Grand/Orchestral/Lush|
http://anonym.to/?http://rapidshare.com/files/301068969/MnstrHntr3.part1.rar
http://anonym.to/?http://rapidshare.com/files/301078195/MnstrHntr3.part2.rar
PSW: smile
Sirusjr
11-01-2009, 11:04 PM
Good news guys!
It seems Basiscape has created their own label to release their soundtracks!!
One of the first on that list is Muramasa: The Demon Blade!!!
http://vgmdb.net/album/15959
I hope this also means an eventual Opoona soundtrack release.
It seems Basiscape has created their own label to release their soundtracks!!
One of the first on that list is Muramasa: The Demon Blade!!!
http://vgmdb.net/album/15959
I hope this also means an eventual Opoona soundtrack release.
arthierr
11-02-2009, 11:50 AM
Fantastic! I was very curious about this Monster Hunter 3 OST, the epic covers seemed to announce something really epic. I intended to grab it later so your post is very welcome!
And thanks too for the news, a new Sakimoto / Iwata score is a great announcement.
And thanks too for the news, a new Sakimoto / Iwata score is a great announcement.
tangotreats
11-02-2009, 12:26 PM
Regards Monster Hunter... It has its moments, but there's probably only 10-15 minutes of orchestral music on those two discs, and most of that is re-recordings of existing themes from previous games in the series. The orchestra is bigger and the recording is much nicer, so it's certainly an upgrade... but it's something of a disappointment to me as a whole - I was contemplating buying it and to be honest, I'm glad I didn't. ;)
arthierr
11-02-2009, 12:31 PM
Hey folks!
I'm really appreciating all the fresh music that's coming in here....hard to keep on top of it all with work and life. That being said, I feel like giving back a bit in my own special way....I have a new piece to show off, one that's not related to any project so I can show it off.
I wrote it to test out a more robust orchestral template that I've been polishing. I'm very pleased with the sound, so I'm hoping you'll all enjoy the piece too.
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
Thanks for listening! :)
Getting really better. This is a very professional sounding piece, highly cinematic and expressive. Very well done, Sir.
The aspect I'm the most pleased about it is that it sounds more genuinely orchestral compared to the previous piece you posted: you're using various musical techniques (trills, ostinati, counterpoints...) to make your piece sound truly orchestral. This is very satisfying and sounds great.
Then, if I may do a recommendation, you may want to listen to this one to improve your style:
Kousuke Yamashita
Nobunaga's Ambition Tendou (2009)
performed by the Tendou Orchestra and Choir
http://www.rapidspread.com/file.jsp?id=u6xjy4i1db
This score is amazing. I confirm what I said before: Yamashita is a young genius. His mastery of orchestral music is almost flawless, the compositions are brilliant and inspired, the orchestrations are perfectly appropriate, and the conduction is incredibly vivid and mastered.
I believe you could learn a lot from it. Try to study how Yamashita composes and orchestrates, and you'll see your skills improve greatly, IMHO.
I'm really appreciating all the fresh music that's coming in here....hard to keep on top of it all with work and life. That being said, I feel like giving back a bit in my own special way....I have a new piece to show off, one that's not related to any project so I can show it off.
I wrote it to test out a more robust orchestral template that I've been polishing. I'm very pleased with the sound, so I'm hoping you'll all enjoy the piece too.
The Expedition (http://www.mathazzar.com/Music/The%20Expedition.mp3)
Thanks for listening! :)
Getting really better. This is a very professional sounding piece, highly cinematic and expressive. Very well done, Sir.
The aspect I'm the most pleased about it is that it sounds more genuinely orchestral compared to the previous piece you posted: you're using various musical techniques (trills, ostinati, counterpoints...) to make your piece sound truly orchestral. This is very satisfying and sounds great.
Then, if I may do a recommendation, you may want to listen to this one to improve your style:
Kousuke Yamashita
Nobunaga's Ambition Tendou (2009)
performed by the Tendou Orchestra and Choir
http://www.rapidspread.com/file.jsp?id=u6xjy4i1db
This score is amazing. I confirm what I said before: Yamashita is a young genius. His mastery of orchestral music is almost flawless, the compositions are brilliant and inspired, the orchestrations are perfectly appropriate, and the conduction is incredibly vivid and mastered.
I believe you could learn a lot from it. Try to study how Yamashita composes and orchestrates, and you'll see your skills improve greatly, IMHO.
JohnGalt
11-02-2009, 01:50 PM
Excellent recommendation, Arthierr — I'll definitely take a listen and see what I can glean! :)
Sirusjr
11-02-2009, 02:54 PM
Regards Monster Hunter... It has its moments, but there's probably only 10-15 minutes of orchestral music on those two discs, and most of that is re-recordings of existing themes from previous games in the series. The orchestra is bigger and the recording is much nicer, so it's certainly an upgrade... but it's something of a disappointment to me as a whole - I was contemplating buying it and to be honest, I'm glad I didn't. ;)
Yeah :(
I was hoping it would have been much better.
Mathazzar - I've been passing your latest song around my friends and they all love it!
Yeah :(
I was hoping it would have been much better.
Mathazzar - I've been passing your latest song around my friends and they all love it!
JohnGalt
11-02-2009, 10:43 PM
Hahaha that's great to hear, Sirius! I appreciate the sly marketing. :P
tangotreats
11-03-2009, 12:26 AM
Since all you good people seemed to enjoy the recent Kousuke Yamashita "Nobunaga's Ambition" score, here's another one I found whilst digging upon this very forum...
All credit should go to Jessie, who ripped (from PS2) and uploaded this magnificent score.
KOUSUKE YAMASHITA
Nobunaga's Ambition - Rise To Power (2008)
http://rapidshare.com/files/179712304/Nobunaga_s_Ambition_Rise_to_Power__PS2__Game_Rip.r ar
Ripped by Jessie - originally found in this thread: http://forums.ffshrine.org/showthread.php?p=1230585
Sound quality is excellent. This may be a game rip, but it's one of the most competent ones I've ever heard. The tracks are encoded at LAME -V0, but at a sample rate of 32000khz. Given that the music has been ripped from a PS2 disc, and not from the recording session master, this is actually not a particularly bad idea - there was no doubt nothing beyond those frequencies to encode anyway. Personally I would have still encoded at 44100khz for compatibility purposes, but hey - this is an excellent score, and an excellent rip - so I'm not complaining. Just lettin' ya know... ;)
As far as the music goes, I loved Tendou certainly... but I really love this one. I can't explain why, but it seems to resonate more with me. It's ever-so-slightly more... florid, extravagant, I suppose. Tendou was, to my ears, comparitively restrained (by Yamashita's standards anyway!) but this one is just a little more traditional. I thought Tendou overdid the percussion a little, but in Rise To Power, we have (for the most part) just a traditional symphonic battery of percussion instruments. The orchestra seems a little smaller, but what they lack in size, they make up in everything else... not least, compositional quality - something that Yamashita very rarely fails to deliver.
All credit should go to Jessie, who ripped (from PS2) and uploaded this magnificent score.
KOUSUKE YAMASHITA
Nobunaga's Ambition - Rise To Power (2008)
http://rapidshare.com/files/179712304/Nobunaga_s_Ambition_Rise_to_Power__PS2__Game_Rip.r ar
Ripped by Jessie - originally found in this thread: http://forums.ffshrine.org/showthread.php?p=1230585
Sound quality is excellent. This may be a game rip, but it's one of the most competent ones I've ever heard. The tracks are encoded at LAME -V0, but at a sample rate of 32000khz. Given that the music has been ripped from a PS2 disc, and not from the recording session master, this is actually not a particularly bad idea - there was no doubt nothing beyond those frequencies to encode anyway. Personally I would have still encoded at 44100khz for compatibility purposes, but hey - this is an excellent score, and an excellent rip - so I'm not complaining. Just lettin' ya know... ;)
As far as the music goes, I loved Tendou certainly... but I really love this one. I can't explain why, but it seems to resonate more with me. It's ever-so-slightly more... florid, extravagant, I suppose. Tendou was, to my ears, comparitively restrained (by Yamashita's standards anyway!) but this one is just a little more traditional. I thought Tendou overdid the percussion a little, but in Rise To Power, we have (for the most part) just a traditional symphonic battery of percussion instruments. The orchestra seems a little smaller, but what they lack in size, they make up in everything else... not least, compositional quality - something that Yamashita very rarely fails to deliver.
ShadowSong
11-03-2009, 12:41 AM
thanks for pointing this out tango, im excited to give it a listen
tangotreats
11-03-2009, 12:49 AM
It's definitely worth a listen. ;)
Yamashita really needs to score more anime. I wonder what the hell he's up to nowadays. Maybe it's just a bad time (financially) to be a composer who's speciality is big symphonic music. I think tomorrow I'm going to post 2006's Garasu No Kantai - in my mind, Yamashita's magnum-opus so far. Truly a score where everything was in the right place at the right time - a stimulating subject (sci-fi adventure), a monolithic music budget, Yamashita in a VERY good mood (he throws around his orchestra with such gleeful abandon,) and a request for a straight symphonic score with no synths, guitars, or rock.
Yamashita really needs to score more anime. I wonder what the hell he's up to nowadays. Maybe it's just a bad time (financially) to be a composer who's speciality is big symphonic music. I think tomorrow I'm going to post 2006's Garasu No Kantai - in my mind, Yamashita's magnum-opus so far. Truly a score where everything was in the right place at the right time - a stimulating subject (sci-fi adventure), a monolithic music budget, Yamashita in a VERY good mood (he throws around his orchestra with such gleeful abandon,) and a request for a straight symphonic score with no synths, guitars, or rock.
jakob
11-03-2009, 02:25 AM
I've never listened to any Yamashita, but I grabbed both of those! Thanks for that! I'm excited to listen to them.
Sirusjr
11-03-2009, 07:13 AM
BTW guys, Yoshihisa Hirano is composing for a fantastic anime I'm watching right now called Tatakau Shisho - The Book of Bantorra. I can't wait to get my hands on the ost when it comes out, so far the music is astounding.
herbaciak
11-03-2009, 10:37 AM
As Sirusjr sugested I post this one also here.
GOEMON The Movie OST by Akihiko Matsumoto
epic/choral/unoriginal (but nice listen;))
mp3s 224 VBR
http://www.megaupload.com/?d=1M4RADQH
or
http://rapidshare.com/files/302288258/GOST.zip.html
And as for unoriginal, believe me, it really is. Main theme reminds me Mononoke (but Mononoke had beautiful theme, so I have no problem with it;)), track no 8 I've heard before (well, the drum beat for sure), track no 10 uses the worst choral sample ever created (god, I hate this sample, U know, the one form the beginning of the track) and whole choir sometimes is very Lotrish (Shore would be proud;)). And overall I have no idea why I like this score (maybe for awesome The Banquet), but I really do like it;).
And I think I need to listen to those Yamashita scores;).
GOEMON The Movie OST by Akihiko Matsumoto
epic/choral/unoriginal (but nice listen;))
mp3s 224 VBR
http://www.megaupload.com/?d=1M4RADQH
or
http://rapidshare.com/files/302288258/GOST.zip.html
And as for unoriginal, believe me, it really is. Main theme reminds me Mononoke (but Mononoke had beautiful theme, so I have no problem with it;)), track no 8 I've heard before (well, the drum beat for sure), track no 10 uses the worst choral sample ever created (god, I hate this sample, U know, the one form the beginning of the track) and whole choir sometimes is very Lotrish (Shore would be proud;)). And overall I have no idea why I like this score (maybe for awesome The Banquet), but I really do like it;).
And I think I need to listen to those Yamashita scores;).
ShadowSong
11-03-2009, 06:54 PM
Lineage II: The Chaotic Chronicle
Bill Brown & The Seattle Symphony
CD Info (http://vgmdb.net/album/2275)
Sample Track (http://www.fileden.com/files/2009/6/24/2487612/01%20Call%20of%20Destiny.mp3)
http://www.megaupload.com/?d=LR7U74VU
Bill Brown & The Seattle Symphony
CD Info (http://vgmdb.net/album/2275)
Sample Track (http://www.fileden.com/files/2009/6/24/2487612/01%20Call%20of%20Destiny.mp3)
http://www.megaupload.com/?d=LR7U74VU
JohnGalt
11-03-2009, 10:25 PM
Lineage II is a fantastic score, I highly recommend it if you haven't heard it before. Bill's a great composer and a fun guy, so definitely check it out. :)
garcia27
11-04-2009, 12:51 AM
Lord Mountbatten: The Last Viceroy by John Scott (from LP)
Today I want to recommend you this incredible work by John Scott. It is ripped from a LP so the sound quality is not great, however it is enough and deserves a listening:
(http://www.postimage.org/image.php?v=Pq5d4kA)
http://www.mediafire.com/?dnidsmn0ycz
Enjoy!
Credits to the original ripper and uploader.
Today I want to recommend you this incredible work by John Scott. It is ripped from a LP so the sound quality is not great, however it is enough and deserves a listening:
(http://www.postimage.org/image.php?v=Pq5d4kA)http://www.mediafire.com/?dnidsmn0ycz
Enjoy!
Credits to the original ripper and uploader.
bbfire
11-04-2009, 03:08 AM
Dear ShadowOnTheSun，thanks for sharing your wonderful Lineage II: The Chaotic Chronicle。 Do you have its losses version？Thanks！
HDHipHop1
11-04-2009, 09:37 AM
So have all you guys studied music?
tangotreats
11-04-2009, 10:17 AM
So have all you guys studied music?
Some have, not all by any means. We have everybody here, from casual listeners right through to orchestrators, conductors, and composers. :)
Some have, not all by any means. We have everybody here, from casual listeners right through to orchestrators, conductors, and composers. :)
Lens of Truth
11-04-2009, 01:24 PM
Today I want to recommend you this incredible work by John Scott.
Thanks Garcia, gorgeous score. I'm on a bit of a John Scott kick at the mo :)
So have all you guys studied music?
In my own case, no. Never studied it at school or learned an instrument. Anything I know I've just picked-up along the way. Even reading fairly unmusical film score reviews you come across terms like 'ostinato', 'theme', 'orchestration' and so on. It's kinda like asking someone who's knowledgeable about gaming if they've 'studied' it. If you're truly passionate about something you want to know more right? If you go to a concert and then buy a book on Brahms does that amount to study? Or if you go to an art gallery and read up on the exhibition? To my mind study is something that's in some way enforced, or is orientated towards a definite goal - an exam, a qualification, a job - not something you do in your spare time for pleasure. Of course, it's great if both of those things coincide, as I'm sure the composers of the thread will attest.
Thanks Garcia, gorgeous score. I'm on a bit of a John Scott kick at the mo :)
So have all you guys studied music?
In my own case, no. Never studied it at school or learned an instrument. Anything I know I've just picked-up along the way. Even reading fairly unmusical film score reviews you come across terms like 'ostinato', 'theme', 'orchestration' and so on. It's kinda like asking someone who's knowledgeable about gaming if they've 'studied' it. If you're truly passionate about something you want to know more right? If you go to a concert and then buy a book on Brahms does that amount to study? Or if you go to an art gallery and read up on the exhibition? To my mind study is something that's in some way enforced, or is orientated towards a definite goal - an exam, a qualification, a job - not something you do in your spare time for pleasure. Of course, it's great if both of those things coincide, as I'm sure the composers of the thread will attest.
mverta
11-04-2009, 05:26 PM
Actually, I have rarely gleaned anything useful, critique-wise, from fellow composers, many of whom speak through various filters of insecurity, or faux-intellectual superiority.
Instead, I find the "unstudied" comments of the other 99.9% of the population far more inspiring, particularly when they don't know the musical terms to describe what they're experiencing - the language they come up with often reveals the core of the music moreseo than pat musical terms. And in the end, they're the ones I'm writing for!
_Mike
Instead, I find the "unstudied" comments of the other 99.9% of the population far more inspiring, particularly when they don't know the musical terms to describe what they're experiencing - the language they come up with often reveals the core of the music moreseo than pat musical terms. And in the end, they're the ones I'm writing for!
_Mike
tangotreats
11-04-2009, 06:35 PM
Sir! Welcome, Mikeru Bata!
What a true honour it is to have you here - I've been a fan of your music for a number of years, and was gobsmacked (and delighted) to hear that you would be working on the latest Ultraman feature.
I truly hope that you'll make yourself at home here, and won't be made to feel uncomfortable at the outpouring of hero-worship you're likely to receive. (From me, at the very least.)
If I may ask, how did you locate this good forum? Were you just googling around for any English language forum which discussed Ultraman, or were we recommended to you?
Welcome aboard once more.
Actually, I have rarely gleaned anything useful, critique-wise, from fellow composers, many of whom speak through various filters of insecurity, or faux-intellectual superiority.
This would be people who are pretending to be composers, but who are actually over-intellectualising, soulless musicologists. I've met - and debated with - many people like that, and became absolutely depressed each time... That the very individuals who actually make music are at the same time so far removed from it; they get so caught up in the mechanical side, the intellectual side, the construction side... that they forget about the emotional side. And they forget that without emotion - without the emotional connection, music is meaningless.
I remember playing one of my new compositions to a former friend. He used to be a nice guy, but he went off to a prestigious music college and studied under Harrison Birtwistle, I believe. I played him my piece and asked him what he thought. He sent me back the most detailed analysis I have ever seen in my life - he told me that here I had used a neopolitan seventh, and there I'd used the Petrushka chord, and here I'd modulated into an unfamilar key using an illegal progression, and so on, and so on... and he never once spoke about the music. He turned it into an academic exercise, when what it should've been was an emotional reaction.
When I asked him about this, he said that music for him had become more intellectual, and that reacting to music emotionally was something weak, uneducated people did.
That's when our friendship finished.
What a true honour it is to have you here - I've been a fan of your music for a number of years, and was gobsmacked (and delighted) to hear that you would be working on the latest Ultraman feature.
I truly hope that you'll make yourself at home here, and won't be made to feel uncomfortable at the outpouring of hero-worship you're likely to receive. (From me, at the very least.)
If I may ask, how did you locate this good forum? Were you just googling around for any English language forum which discussed Ultraman, or were we recommended to you?
Welcome aboard once more.
Actually, I have rarely gleaned anything useful, critique-wise, from fellow composers, many of whom speak through various filters of insecurity, or faux-intellectual superiority.
This would be people who are pretending to be composers, but who are actually over-intellectualising, soulless musicologists. I've met - and debated with - many people like that, and became absolutely depressed each time... That the very individuals who actually make music are at the same time so far removed from it; they get so caught up in the mechanical side, the intellectual side, the construction side... that they forget about the emotional side. And they forget that without emotion - without the emotional connection, music is meaningless.
I remember playing one of my new compositions to a former friend. He used to be a nice guy, but he went off to a prestigious music college and studied under Harrison Birtwistle, I believe. I played him my piece and asked him what he thought. He sent me back the most detailed analysis I have ever seen in my life - he told me that here I had used a neopolitan seventh, and there I'd used the Petrushka chord, and here I'd modulated into an unfamilar key using an illegal progression, and so on, and so on... and he never once spoke about the music. He turned it into an academic exercise, when what it should've been was an emotional reaction.
When I asked him about this, he said that music for him had become more intellectual, and that reacting to music emotionally was something weak, uneducated people did.
That's when our friendship finished.
mverta
11-04-2009, 06:44 PM
Thank you for the warm welcome! I actually got a Google Alert about this forum; I've been getting those quite a bit recently...
In any case, I generally peruse score-appreciation forums anonymously, because I don't want to inhibit honest critique of my work - it's crucial for growth, and often times people will censor themselves in the presence of the composer. I've never thought this necessary, but I get it. In any case, there is a lot of love for music here, and that's always wonderful to see.
Also, your experience with your friend is tragic, but not uncommon. I left traditional music education for encountering the very same thing with my professors!
_Mike
In any case, I generally peruse score-appreciation forums anonymously, because I don't want to inhibit honest critique of my work - it's crucial for growth, and often times people will censor themselves in the presence of the composer. I've never thought this necessary, but I get it. In any case, there is a lot of love for music here, and that's always wonderful to see.
Also, your experience with your friend is tragic, but not uncommon. I left traditional music education for encountering the very same thing with my professors!
_Mike
ShadowSong
11-04-2009, 07:14 PM
tango i know that feeling way too well, i have been told by someone "thats not allowed" when i know full well that it isn't the traditional way to do it.
I just did it that way because i liked the way it sounded and it made it unique
I just did it that way because i liked the way it sounded and it made it unique
arthierr
11-04-2009, 07:19 PM
Well, well, well... Some days off and so many interesting posts.
Mr Verda: 1st Chris Tilton, then you. I look forward to John Williams coming here to say "Hi". :p Seriously, welcome to you, we spoke about you recently, and I was very admirative of your score for Forbidden Warrior, so much that I intended to repost it here, since it's free in your website. Is it ok for you? A great bravo for taking the Ultraman franchise after Mr Sahashi (one of my favourite composers). I'm sure you'll do a fantastic job.
tangotreats: A huge thanks for this new Yamashita score! This is extremely appreciated.
Garcia: Wow, an ultra-rare John Scott score? This is pure gold, Bravo!
As Sirusjr sugested I post this one also here.
In fact you can post it both here and in the DL section. Thanks for the repost! This clearly belongs to this thread too, and will certainly satisfy orchestral fans visiting over time. I just listened to the Main Theme now, and it's clearly a variation of Mononoke, but yes, it's nice. ;)
ShadowOnTheSun: ahhh, at last Brown's Lineage 2 posted in this thread: great initiative! I can see it's the Chaotic Chronicle only, maybe you have the original score and the other add-ons? Thanks a lot. :)
Mr Verda: 1st Chris Tilton, then you. I look forward to John Williams coming here to say "Hi". :p Seriously, welcome to you, we spoke about you recently, and I was very admirative of your score for Forbidden Warrior, so much that I intended to repost it here, since it's free in your website. Is it ok for you? A great bravo for taking the Ultraman franchise after Mr Sahashi (one of my favourite composers). I'm sure you'll do a fantastic job.
tangotreats: A huge thanks for this new Yamashita score! This is extremely appreciated.
Garcia: Wow, an ultra-rare John Scott score? This is pure gold, Bravo!
As Sirusjr sugested I post this one also here.
In fact you can post it both here and in the DL section. Thanks for the repost! This clearly belongs to this thread too, and will certainly satisfy orchestral fans visiting over time. I just listened to the Main Theme now, and it's clearly a variation of Mononoke, but yes, it's nice. ;)
ShadowOnTheSun: ahhh, at last Brown's Lineage 2 posted in this thread: great initiative! I can see it's the Chaotic Chronicle only, maybe you have the original score and the other add-ons? Thanks a lot. :)
Lens of Truth
11-04-2009, 07:28 PM
Actually, I have rarely gleaned anything useful, critique-wise, from fellow composers, many of whom speak through various filters of insecurity, or faux-intellectual superiority.
Instead, I find the "unstudied" comments of the other 99.9% of the population far more inspiring, particularly when they don't know the musical terms to describe what they're experiencing - the language they come up with often reveals the core of the music moreseo than pat musical terms. And in the end, they're the ones I'm writing for!
_Mike
Oh my gosh, humbled yet again! What a pleasure to have another composer enter the fray!! Mike, crongrats on the Ultraman commission- looking forward to it immensely :)
I definitely know what you mean, but as dismissive, cold and mechanical as some composers’ views on music can be (and I’ve had experience of this with a good friend, frequently having to fight the corner of Vaughan Williams, Bruckner, Rameau, Jerry Goldsmith, Robert Simpson, who all write ‘badly’....), I can’t agree on the ‘innocent’ characterisation of the other 99.9% of the population, who are surely guided as much by a set of preconceptions and prejudices, different though they may be. Plenty of people won’t even listen to an orchestral composition if they can help it.
Speaking as a music lover, I find a certain understanding of musical form invaluable to my experience and appreciation of music. Technical terms alone don’t describe ‘what you’re experiencing’, but often the most insightful commentary mixes elements of both. The best thing any critique of any artform can achieve is to drive you back to that work and to experience it with a new sensitivity. I’ll admit though that this is the exception and not the rule.
When I asked him about this, he said that music for him had become more intellectual, and that reacting to music emotionally was something weak, uneducated people did.
Intellect vs emotion is a major preoccupation of mine. How many arguments have I gotten into over it? And why? Because I don’t go with either side. The utterly incredible thing about music is that it collapses this simplistic distinction and reveals it to be a false polarity. Music can satisfy both at the same time, and neither, because it’s doing something different, something unique.
And they forget that without emotion - without the emotional connection, music is meaningless.
I do agree Tango, but do you find that ‘emotion’ even accounts for it? I think it’s more than this. After all, emotions ‘in life’ are usually very utilitarian things, and often revolve around ego. Also many a prejudice and conditioned brutality can cloak itself in the garb of ‘natural emotions’. I’m sure I’ll be scoffed at for saying this… but this is why I prefer to think in terms of aesthetic response. It can suggest subjectivity, imagination, emotion, form, structure, technique and, most importantly, is an attempt to get at the indefinable aspect of art, that’s beyond all these things.
Instead, I find the "unstudied" comments of the other 99.9% of the population far more inspiring, particularly when they don't know the musical terms to describe what they're experiencing - the language they come up with often reveals the core of the music moreseo than pat musical terms. And in the end, they're the ones I'm writing for!
_Mike
Oh my gosh, humbled yet again! What a pleasure to have another composer enter the fray!! Mike, crongrats on the Ultraman commission- looking forward to it immensely :)
I definitely know what you mean, but as dismissive, cold and mechanical as some composers’ views on music can be (and I’ve had experience of this with a good friend, frequently having to fight the corner of Vaughan Williams, Bruckner, Rameau, Jerry Goldsmith, Robert Simpson, who all write ‘badly’....), I can’t agree on the ‘innocent’ characterisation of the other 99.9% of the population, who are surely guided as much by a set of preconceptions and prejudices, different though they may be. Plenty of people won’t even listen to an orchestral composition if they can help it.
Speaking as a music lover, I find a certain understanding of musical form invaluable to my experience and appreciation of music. Technical terms alone don’t describe ‘what you’re experiencing’, but often the most insightful commentary mixes elements of both. The best thing any critique of any artform can achieve is to drive you back to that work and to experience it with a new sensitivity. I’ll admit though that this is the exception and not the rule.
When I asked him about this, he said that music for him had become more intellectual, and that reacting to music emotionally was something weak, uneducated people did.
Intellect vs emotion is a major preoccupation of mine. How many arguments have I gotten into over it? And why? Because I don’t go with either side. The utterly incredible thing about music is that it collapses this simplistic distinction and reveals it to be a false polarity. Music can satisfy both at the same time, and neither, because it’s doing something different, something unique.
And they forget that without emotion - without the emotional connection, music is meaningless.
I do agree Tango, but do you find that ‘emotion’ even accounts for it? I think it’s more than this. After all, emotions ‘in life’ are usually very utilitarian things, and often revolve around ego. Also many a prejudice and conditioned brutality can cloak itself in the garb of ‘natural emotions’. I’m sure I’ll be scoffed at for saying this… but this is why I prefer to think in terms of aesthetic response. It can suggest subjectivity, imagination, emotion, form, structure, technique and, most importantly, is an attempt to get at the indefinable aspect of art, that’s beyond all these things.
mverta
11-04-2009, 07:31 PM
A great bravo for taking the Ultraman franchise after Mr Sahashi (one of my favourite composers). I'm sure you'll do a fantastic job.
I finished the score for Ultra Galaxy Legends a couple of weeks ago, and delivered the CD soundtrack master last Monday, so it's up to the Fates, now :)
I can't actually endorse reposting of my score for Forbidden Warrior, but I'll just turn my back for a moment here...
I can’t agree on the ‘innocent’ characterisation of the other 99.9% of the population, who are surely guided as much by a set of preconceptions and prejudices, different though they may be. Plenty of people won’t even listen to an orchestral composition if they can help it.
There's a lot of truth in this. However, fortunately, there still seems to be this sweet spot; an aesthetic pocket within which some 80%+ of Western ears agree on what constitutes an engaging experience. We rely on that predictability to successfully hit the target with any kind of consistency. It somewhat defies description, but not entirely. More often than not, I have a fairly good idea if a piece of music is going to be considered satisfying on its own; however, it is entirely possible that the piece in context may not "work" for some. For example, my score for UGL is different from its predecessors. For some, that fact alone will detract from the enjoyment of it regardless of the substance of the music itself. But we work for directors, you know; we go where they tell us. I have had more than a few instances where I've been asked to very closely mimic a temp track, or otherwise get direction I don't agree with. But in the end, you take responsibility for what your name is on. It is ultimately, for me, challenging, rewarding, and fun; I wouldn't do anything else :)
_Mike
I finished the score for Ultra Galaxy Legends a couple of weeks ago, and delivered the CD soundtrack master last Monday, so it's up to the Fates, now :)
I can't actually endorse reposting of my score for Forbidden Warrior, but I'll just turn my back for a moment here...
I can’t agree on the ‘innocent’ characterisation of the other 99.9% of the population, who are surely guided as much by a set of preconceptions and prejudices, different though they may be. Plenty of people won’t even listen to an orchestral composition if they can help it.
There's a lot of truth in this. However, fortunately, there still seems to be this sweet spot; an aesthetic pocket within which some 80%+ of Western ears agree on what constitutes an engaging experience. We rely on that predictability to successfully hit the target with any kind of consistency. It somewhat defies description, but not entirely. More often than not, I have a fairly good idea if a piece of music is going to be considered satisfying on its own; however, it is entirely possible that the piece in context may not "work" for some. For example, my score for UGL is different from its predecessors. For some, that fact alone will detract from the enjoyment of it regardless of the substance of the music itself. But we work for directors, you know; we go where they tell us. I have had more than a few instances where I've been asked to very closely mimic a temp track, or otherwise get direction I don't agree with. But in the end, you take responsibility for what your name is on. It is ultimately, for me, challenging, rewarding, and fun; I wouldn't do anything else :)
_Mike
arthierr
11-04-2009, 07:39 PM
*Drool* You have a customer here, Mr Verta! As soon it's out I'll purchase it. I'm terribly curious about what you could have done. I expect something highly thematic, huge in scope, and mostly action oriented. Am I right?
I have a better Idea about FW, I'll do a post as I do them usually (title, cover, comments...), but instead of a DL link, I'll redirect to the music section in your website, where the full score is. Do you prefer this?
I have a better Idea about FW, I'll do a post as I do them usually (title, cover, comments...), but instead of a DL link, I'll redirect to the music section in your website, where the full score is. Do you prefer this?
NotSpecial
11-04-2009, 07:40 PM
Because the poster formerly known as dannyfrench requested me to . . . a rare score even by Akira Senju's standards for a underrated series released in 2006.
Akira Senju - Red Garden Original Soundtrack
Orchestral/Vocal(for tracks 25-29)/Tense/Warm/Emotional/Melancholy
http://www.megaupload.com/?d=9HZ3RBQK
Tracklist:
1. Main Theme ~ Sou de Aru to Negau Kara (3:39)
2. Kojin no Shi (2:34 )
3. Nasu Koto Toshite (1:53)
4. Ayumi .. Yamerare Zuni (1:35)
5. Yowaku, Yowaku (2:18)
6. Shizuka ni Omou Koto (2:15)
7. Sono Saki ni Mieta Kara, Zutto Zutto (2:42)
8. Omoi Omoi, Soko ni .. (2:42)
9. Soshite Mata, to (1:43)
10. Eirei (1:27)
11. Miete Kuru Mono he (1:54)
12. Seinen no Kao to Akai iro (2:42)
13. Tsunagari no Houkai (1:55)
14. Fukanzen Naru Mono (1:37)
15. Hai iro no Shiawase (2:19)
16. Konnichiwa Owari Dakara (2:04)
17. Mie nai Hikari (2:19)
18. Anata to Ita Kara Mieta Koto (1:48)
19. Utsukushiku to mo Mitomezu (1:41)
20. Owari Kara no Ippo (1:37)
21. Susumu, Soshite Susumu (2:04)
22. Kireru Ishi (2:03)
23. Te no Kasanari (2:23)
24. Akai Niwa (2:58)
25. Ai ~ Wazuka na Omoide (vocal by KOKIA) (3:14)
26. Katsu ~ Mabara na Hikari (vocal by KOKIA) (3:45)
27. Kurenai ~ Negai (vocal by KOKIA) (2:40)
28. Sumire ~ You to Tomoni (vocal by KOKIA) (2:25)
29. Shiro ~ Watashi Tachi no Hibiki (vocal by KOKIA) (3:21)
Do yourselves all a favor and buy the thing if you can. You think it sounds good as .mp3s? Imagine what it sounds like on CD. ;)
Akira Senju - Red Garden Original Soundtrack
Orchestral/Vocal(for tracks 25-29)/Tense/Warm/Emotional/Melancholy
http://www.megaupload.com/?d=9HZ3RBQK
Tracklist:
1. Main Theme ~ Sou de Aru to Negau Kara (3:39)
2. Kojin no Shi (2:34 )
3. Nasu Koto Toshite (1:53)
4. Ayumi .. Yamerare Zuni (1:35)
5. Yowaku, Yowaku (2:18)
6. Shizuka ni Omou Koto (2:15)
7. Sono Saki ni Mieta Kara, Zutto Zutto (2:42)
8. Omoi Omoi, Soko ni .. (2:42)
9. Soshite Mata, to (1:43)
10. Eirei (1:27)
11. Miete Kuru Mono he (1:54)
12. Seinen no Kao to Akai iro (2:42)
13. Tsunagari no Houkai (1:55)
14. Fukanzen Naru Mono (1:37)
15. Hai iro no Shiawase (2:19)
16. Konnichiwa Owari Dakara (2:04)
17. Mie nai Hikari (2:19)
18. Anata to Ita Kara Mieta Koto (1:48)
19. Utsukushiku to mo Mitomezu (1:41)
20. Owari Kara no Ippo (1:37)
21. Susumu, Soshite Susumu (2:04)
22. Kireru Ishi (2:03)
23. Te no Kasanari (2:23)
24. Akai Niwa (2:58)
25. Ai ~ Wazuka na Omoide (vocal by KOKIA) (3:14)
26. Katsu ~ Mabara na Hikari (vocal by KOKIA) (3:45)
27. Kurenai ~ Negai (vocal by KOKIA) (2:40)
28. Sumire ~ You to Tomoni (vocal by KOKIA) (2:25)
29. Shiro ~ Watashi Tachi no Hibiki (vocal by KOKIA) (3:21)
Do yourselves all a favor and buy the thing if you can. You think it sounds good as .mp3s? Imagine what it sounds like on CD. ;)
tangotreats
11-04-2009, 07:54 PM
Intellect vs emotion is a major preoccupation of mine. How many arguments have I gotten into over it? And why? Because I don�t go with either side. The utterly incredible thing about music is that it collapses this simplistic distinction and reveals it to be a false polarity. Music can satisfy both at the same time, and neither, because it�s doing something different, something unique.
I entirely agree - my example (and language) was artificially simplified to illustrate a case-in-point. I served to criticise people who completely disregard the basic purpose of music (to cause a reaction; to reach somebody in a specific way) or make it a secondary factor. For my friend, in his eyes, his appreciation of music had evolved away from a basic, human experience, all the way to pure intellectualism. He showered himself in praise for his detailed technical analyses (in themselves, fascinating) and his ability to pick apart a piece of music to its most basic structural components... And actually consciously cleansed himself of "music as a means of communication" - to the extent where music was something printed on paper, to be analysed, cogitated, and deconstructed - not to be enjoyed. He became a truly miserable piece of work after coming back from RNCM.
I didn't mean to suggest that intellectualism in music is bad... far from it. I love to analyse, and I get immense satisfaction from "clever" music from that perspective. And I do agree that good music should really satisfy the intellect and the heart - although if I were forced to chose between the two, I would have to go with the heart.
Music isn't music if it serves no purpose other than to inflate somebody's ego.
I do agree Tango, but do you find that �emotion� even accounts for it? I think it�s more than this. After all, emotions �in life� are usually very utilitarian things, and often revolve around ego. Also many a prejudice and conditioned brutality can cloak itself in the garb of �natural emotions�. I�m sure I�ll be scoffed at for saying this�
You're getting very, very deep now!
I understand your distinction. I tend to use the word "emotion" in a very broad sense. And in this context, I intended it mainly as a "man versus machine" comparison.
There is music out there that is so clever, so well constructed, so intelligent, that it's almost impossible to comprehend. But ultimately, if that is all it is, you will listen once, think "Wow, that was clever" and never return to it again. I believe such pieces were (crudely, but accurately) described once as "musical masturbation" - self congratulatory piffle that pleases nobody except its creator, and then only in the most superficial fashion.
but this is why I prefer to think in terms of aesthetic response. It can suggest subjectivity, imagination, emotion, form, structure, technique and, most importantly, is an attempt to get at the indefinable aspect of art, that�s beyond all these things.
Yes, the word "response" would seem a better cover-all. The response needn't be a good one (I don't like Goldsmith's Planet Of The Apes the way I like chocolate cake - but that doesn't mean I don't want to listen to it) but it should be a non-superficial one. A superficial happy reaction is worth less than a complicated sad one.
I entirely agree - my example (and language) was artificially simplified to illustrate a case-in-point. I served to criticise people who completely disregard the basic purpose of music (to cause a reaction; to reach somebody in a specific way) or make it a secondary factor. For my friend, in his eyes, his appreciation of music had evolved away from a basic, human experience, all the way to pure intellectualism. He showered himself in praise for his detailed technical analyses (in themselves, fascinating) and his ability to pick apart a piece of music to its most basic structural components... And actually consciously cleansed himself of "music as a means of communication" - to the extent where music was something printed on paper, to be analysed, cogitated, and deconstructed - not to be enjoyed. He became a truly miserable piece of work after coming back from RNCM.
I didn't mean to suggest that intellectualism in music is bad... far from it. I love to analyse, and I get immense satisfaction from "clever" music from that perspective. And I do agree that good music should really satisfy the intellect and the heart - although if I were forced to chose between the two, I would have to go with the heart.
Music isn't music if it serves no purpose other than to inflate somebody's ego.
I do agree Tango, but do you find that �emotion� even accounts for it? I think it�s more than this. After all, emotions �in life� are usually very utilitarian things, and often revolve around ego. Also many a prejudice and conditioned brutality can cloak itself in the garb of �natural emotions�. I�m sure I�ll be scoffed at for saying this�
You're getting very, very deep now!
I understand your distinction. I tend to use the word "emotion" in a very broad sense. And in this context, I intended it mainly as a "man versus machine" comparison.
There is music out there that is so clever, so well constructed, so intelligent, that it's almost impossible to comprehend. But ultimately, if that is all it is, you will listen once, think "Wow, that was clever" and never return to it again. I believe such pieces were (crudely, but accurately) described once as "musical masturbation" - self congratulatory piffle that pleases nobody except its creator, and then only in the most superficial fashion.
but this is why I prefer to think in terms of aesthetic response. It can suggest subjectivity, imagination, emotion, form, structure, technique and, most importantly, is an attempt to get at the indefinable aspect of art, that�s beyond all these things.
Yes, the word "response" would seem a better cover-all. The response needn't be a good one (I don't like Goldsmith's Planet Of The Apes the way I like chocolate cake - but that doesn't mean I don't want to listen to it) but it should be a non-superficial one. A superficial happy reaction is worth less than a complicated sad one.
mverta
11-04-2009, 07:54 PM
*Drool* You have a customer here, Mr Verta! As soon it's out I'll purchase it. I'm terribly curious about what you could have done. I expect something highly thematic, huge in scope, and mostly action oriented. Am I right?
I have a better Idea about FW, I'll do a post as I do them usually (title, cover, comments...), but instead of a DL link, I'll redirect to the music section in your website, where the full score is. Do you prefer this?
The film is absolutely packed with fight sequences of all kinds - beautifully choreographed; almost like ballets. Fight/Action sequences, I feel, often bring out the best/worst in a composer. There is such a tedious tendency out there for composers to pick an ostinato figure, slap some pre-built grooves or war drums on it, lay in a few pre-built brass hits and call it day, but I feel this does a tremendous disservice all around.
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same.
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
Regarding intellectualism vs. emotionality: I write my scores to stand up to academic review, but it ain't got a thing if it ain't got that swing. As with most things, I think the wisdom lies in the balance.
_Mike
I have a better Idea about FW, I'll do a post as I do them usually (title, cover, comments...), but instead of a DL link, I'll redirect to the music section in your website, where the full score is. Do you prefer this?
The film is absolutely packed with fight sequences of all kinds - beautifully choreographed; almost like ballets. Fight/Action sequences, I feel, often bring out the best/worst in a composer. There is such a tedious tendency out there for composers to pick an ostinato figure, slap some pre-built grooves or war drums on it, lay in a few pre-built brass hits and call it day, but I feel this does a tremendous disservice all around.
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same.
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
Regarding intellectualism vs. emotionality: I write my scores to stand up to academic review, but it ain't got a thing if it ain't got that swing. As with most things, I think the wisdom lies in the balance.
_Mike
tangotreats
11-04-2009, 08:07 PM
Mike: This sounds greatly encouraging... I have to say, I wish that more contemporary composers would adopt these views as we might then begin to get some decent music in mainstream American cinema again... but I digress!
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same
Indeed... I find that a lot of fight / action sequences are scored as "lots of stuff is happening here" and that's as detailed as it gets. It sounds like you approached your Ultraman score with a very classical sensibility. It also sounds like you had a inspiring relationship with the director, and were able to pursue your own ideas?
I haven't watched a lot of Ultraman, but in the parts of it I have seen, the fighting and action always feel like an inevitable consequence of the story... and not the other way around! In other words, there is a reason why these things are happening - they are closely tied to the story, and even though on the surface they may seem like mindless action sequences, they're effectively character development scenes like any other. As distinct from the Western norm where action sequences appear to grow out of a need to make exciting things happen to please brain-dead test audiences...
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
There is that certain percussion cliche that emerges in modern orchestral action music; the feeling that normal orchestral percussion instruments and techniques don't adequately convey "epicness" and in order to do so, you have to be constantly pounding a repetitive rhythmic figure at increasing volumes on as many exotic drums as you possibly can.
When people worry about "percussive" scores I think that's what they're expecting.
As you say, there is more to "epic" than volume, power-chords, and thumping percussion.
To the contemporary folk who think you don't get any more epic than "The Rock" - they really need to investigate things like Rosza's Ben Hur.
I would like to reclaim the word "epic" - in the world of film scoring, it has come to be associated with noise, mindless banging percussion, and cliche.
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same
Indeed... I find that a lot of fight / action sequences are scored as "lots of stuff is happening here" and that's as detailed as it gets. It sounds like you approached your Ultraman score with a very classical sensibility. It also sounds like you had a inspiring relationship with the director, and were able to pursue your own ideas?
I haven't watched a lot of Ultraman, but in the parts of it I have seen, the fighting and action always feel like an inevitable consequence of the story... and not the other way around! In other words, there is a reason why these things are happening - they are closely tied to the story, and even though on the surface they may seem like mindless action sequences, they're effectively character development scenes like any other. As distinct from the Western norm where action sequences appear to grow out of a need to make exciting things happen to please brain-dead test audiences...
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
There is that certain percussion cliche that emerges in modern orchestral action music; the feeling that normal orchestral percussion instruments and techniques don't adequately convey "epicness" and in order to do so, you have to be constantly pounding a repetitive rhythmic figure at increasing volumes on as many exotic drums as you possibly can.
When people worry about "percussive" scores I think that's what they're expecting.
As you say, there is more to "epic" than volume, power-chords, and thumping percussion.
To the contemporary folk who think you don't get any more epic than "The Rock" - they really need to investigate things like Rosza's Ben Hur.
I would like to reclaim the word "epic" - in the world of film scoring, it has come to be associated with noise, mindless banging percussion, and cliche.
arthierr
11-04-2009, 08:23 PM
The film is absolutely packed with fight sequences of all kinds - beautifully choreographed; almost like ballets. Fight/Action sequences, I feel, often bring out the best/worst in a composer.
Something classic in most asian action movies, then later reused in western movies like the Matrix. This cinematographic approach to action and combat scenes is a formidable opportunity for a composer to write something more fluid and melodic than regular action cues, I guess.
There is such a tedious tendency out there for composers to pick an ostinato figure, slap some pre-built grooves or war drums on it, lay in a few pre-built brass hits and call it day, but I feel this does a tremendous disservice all around.
Seconded. ;)
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same.
This is indeed someting I noticed in the previous score by Sahashi: the most important tracks of the score are the battle tracks, which are quite longer and have each their own identity, narrating as you say a certain story in itself. I'm glad they kept the same idea for this new movie and its score.
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
And that's one of the reasons I appreciate so much such scores. :) They happen to be immense in scope, powerful and epic, but without sinking into cheap brass blasts and percussion frenzy, which artificially and unsubtlely try to create a pseudo epic feel, by oversaturating the listener's eardrums. People like Sahashi and you have an authentic, solid, and remarkable classical education, and a real mastery of orchestral music. You know how to write mini-symphonies for movies with giant monsters, so, a big tip of the hat to you, Sir.
Something classic in most asian action movies, then later reused in western movies like the Matrix. This cinematographic approach to action and combat scenes is a formidable opportunity for a composer to write something more fluid and melodic than regular action cues, I guess.
There is such a tedious tendency out there for composers to pick an ostinato figure, slap some pre-built grooves or war drums on it, lay in a few pre-built brass hits and call it day, but I feel this does a tremendous disservice all around.
Seconded. ;)
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything. In his mind, each hit and defensive move followed precise lines of motivation, and thus each fight is its own story. So while there is a lot of action in the film, the cues themselves never fall into that bed/treading-water camp. They, too, attempt to tell the story within a fight, and no two fights are the same.
This is indeed someting I noticed in the previous score by Sahashi: the most important tracks of the score are the battle tracks, which are quite longer and have each their own identity, narrating as you say a certain story in itself. I'm glad they kept the same idea for this new movie and its score.
So there is certainly the requisite percussion bits and anvil hits and whatnot, but they're more peppered throughout versus the foundation of the score. The score's foundation is a heavily thematic, operatic approach. The film itself really has a lot of "heavy" things going on dramatically, so there was great potential to lean on the "epic" button, and that's precisely what they were looking for.
And that's one of the reasons I appreciate so much such scores. :) They happen to be immense in scope, powerful and epic, but without sinking into cheap brass blasts and percussion frenzy, which artificially and unsubtlely try to create a pseudo epic feel, by oversaturating the listener's eardrums. People like Sahashi and you have an authentic, solid, and remarkable classical education, and a real mastery of orchestral music. You know how to write mini-symphonies for movies with giant monsters, so, a big tip of the hat to you, Sir.
arthierr
11-04-2009, 08:28 PM
Oh boy, I didn't even see your reply before posting mine, Tango. Now mine looks like an echo of yours... :p
hater
11-04-2009, 11:34 PM
I was really impressed by Forbidden Warrior but as a huge Batman fan the Simulator Ride Track on Mikes website made my day.BTw. new Ultraman Score cd will be pre-ordered as soon as possible. Hell, made me more excited then Horners Avatar. (which seems to be waaay to modern) I�m a sucker for classic orchestral scores, this is why i regularly visit this thread. calling it a goldmine would be an understatment.all the precious asian scores...
ah and the Monster Hunter Concert blew my socks off.Thanks guys and girls.
ah and the Monster Hunter Concert blew my socks off.Thanks guys and girls.
tangotreats
11-04-2009, 11:47 PM
That Batman track was actually what got me interested in Mike's music in the first place. A magnificent, Williamsesque take on Danny Elfman's theme.
Mike: May I ask you about the recording sessions for Ultraman? Did you record the score in the US? The Japanese seem to be heading overseas more and more often lately - Masamichi Amano seems to record only in the USA nowadays, and the Eastern European bands are getting more work than ever. Ultraman scores traditionally get recorded in Tokyo in that God-awful Sound Inn studio.
Could I also ask you for your thoughts on previous scores in the franchise, if you've heard any? I know it's sometimes "bad form" for a composer to comment on his predecessor's work, but I'm keen to know how that... distinctly 80s... style goes down in your ears. Toshihiko Sahashi, who has become somewhat synonymous with Ultraman in recent years, has an orchestral style that in any other country, would be considered anachronistic... Did the producers have any expectations from you regarding adhering to a certain "sound" - or did you have any expectations yourself?
I think it must be every composer's dream job to work on a massive science fiction epic - particularly for a director who appreciates the function a good score can have, and in a country where big, symphonic scores aren't dismissed as "old" or "uncool", where the music ethic is still strong - and where musical sensibility, and compositional acumen is more important than power anthems...
Japan appears to me like a strange parallel universe (a good one, I hasten to add) where symphonic scoring techniques haven't been overtaken by morons with keyboards and drum loops, as you see in the West.
I am starting off in my own scoring career, and have been utterly disheartened by the climate. Directors have asked me to rip off Transformers, they've even asked for music that's not very musical! On my last project, I wrote a taught string orchestra score for a psychological drama, and some idiot on the production team decided to throw it out. He thought that the best way to convey the main character's mental torment was to dub seaside organ music into every scene. (After I made a number of threats the score was restored, but the film stank and nobody ever saw it anyway.)
Mike: May I ask you about the recording sessions for Ultraman? Did you record the score in the US? The Japanese seem to be heading overseas more and more often lately - Masamichi Amano seems to record only in the USA nowadays, and the Eastern European bands are getting more work than ever. Ultraman scores traditionally get recorded in Tokyo in that God-awful Sound Inn studio.
Could I also ask you for your thoughts on previous scores in the franchise, if you've heard any? I know it's sometimes "bad form" for a composer to comment on his predecessor's work, but I'm keen to know how that... distinctly 80s... style goes down in your ears. Toshihiko Sahashi, who has become somewhat synonymous with Ultraman in recent years, has an orchestral style that in any other country, would be considered anachronistic... Did the producers have any expectations from you regarding adhering to a certain "sound" - or did you have any expectations yourself?
I think it must be every composer's dream job to work on a massive science fiction epic - particularly for a director who appreciates the function a good score can have, and in a country where big, symphonic scores aren't dismissed as "old" or "uncool", where the music ethic is still strong - and where musical sensibility, and compositional acumen is more important than power anthems...
Japan appears to me like a strange parallel universe (a good one, I hasten to add) where symphonic scoring techniques haven't been overtaken by morons with keyboards and drum loops, as you see in the West.
I am starting off in my own scoring career, and have been utterly disheartened by the climate. Directors have asked me to rip off Transformers, they've even asked for music that's not very musical! On my last project, I wrote a taught string orchestra score for a psychological drama, and some idiot on the production team decided to throw it out. He thought that the best way to convey the main character's mental torment was to dub seaside organ music into every scene. (After I made a number of threats the score was restored, but the film stank and nobody ever saw it anyway.)
NotSpecial
11-04-2009, 11:59 PM
Wait, we actually have a big-time composer not giving us crap?
. . .
Are we being punk'd? XD
. . .
Are we being punk'd? XD
Lens of Truth
11-05-2009, 12:30 AM
Because of the director's approach to the film, we chose to treat the myriad action sequences like symphonic movements as much as anything.
Mike, you couldn't have made that sound more appealing! Thanks so much for coming on here and speaking so frankly about the whole process.
I would like to reclaim the word "epic" - in the world of film scoring, it has come to be associated with noise, mindless banging percussion, and cliche.
If we all band together I'm sure that's possible. Certain factions of the board won't take to kindly to it though I'm sure ;)
------------------------------------------------------------
MARIO & SONIC
AT THE OLYMPIC WINTER GAMES
Orchestral Pack
MP3-V0
http://rapidshare.com/files/302527459/M_S_Orchestral.rar
A lowbrow contribution from me tonight ;) I've put the best orchestral-only tracks together into a short suite for you good people, freshly encoded from the game's adx files. Lightness and pageantry is what it's all about, and it's pretty damn catchy too. If anyone has any composer info for this I'd be grateful for it. I assume it was the same person(s) responsible for the first Olympics game? For now I've just tagged Sega as the artist.
Mike, you couldn't have made that sound more appealing! Thanks so much for coming on here and speaking so frankly about the whole process.
I would like to reclaim the word "epic" - in the world of film scoring, it has come to be associated with noise, mindless banging percussion, and cliche.
If we all band together I'm sure that's possible. Certain factions of the board won't take to kindly to it though I'm sure ;)
------------------------------------------------------------
MARIO & SONIC
AT THE OLYMPIC WINTER GAMES
Orchestral Pack
MP3-V0
http://rapidshare.com/files/302527459/M_S_Orchestral.rar
A lowbrow contribution from me tonight ;) I've put the best orchestral-only tracks together into a short suite for you good people, freshly encoded from the game's adx files. Lightness and pageantry is what it's all about, and it's pretty damn catchy too. If anyone has any composer info for this I'd be grateful for it. I assume it was the same person(s) responsible for the first Olympics game? For now I've just tagged Sega as the artist.
tangotreats
11-05-2009, 12:49 AM
Composers: Fumie Kumatani, Naofumi Hataya, Hideaki Kobayashi, Jun Senoue, Tadashi Kinukawa, Teruhiko Nakagawa, and Tomonori Sawada. Phew!
Orchestrated and conducted by Larry Hochman! (Funny how these names you haven't heard for years and years turn up in Japan...)
The 38 piece orchestra (yes, really... with good musicians, a decent studio, and a skilled arranger, it still amazes me what you can do with such a limited ensemble) was comprised of Dutch session musicians and recorded in The Netherlands.
Edit: While I think of it, here's the orchestral pieces from 2007's "Mario and Sonic At The Olympic Games" - this time around, orchestrated and conducted by Masamichi Amano, and performed by a Los Angeles session orchestra.
http://uploadmirrors.com/download/06MQAPBW/MAS-OLYMPIC.rar
Sorry about the bitrate... blame the original ripper, whoever that may be. ;)
Orchestrated and conducted by Larry Hochman! (Funny how these names you haven't heard for years and years turn up in Japan...)
The 38 piece orchestra (yes, really... with good musicians, a decent studio, and a skilled arranger, it still amazes me what you can do with such a limited ensemble) was comprised of Dutch session musicians and recorded in The Netherlands.
Edit: While I think of it, here's the orchestral pieces from 2007's "Mario and Sonic At The Olympic Games" - this time around, orchestrated and conducted by Masamichi Amano, and performed by a Los Angeles session orchestra.
http://uploadmirrors.com/download/06MQAPBW/MAS-OLYMPIC.rar
Sorry about the bitrate... blame the original ripper, whoever that may be. ;)
Lens of Truth
11-05-2009, 01:01 AM
Thank you. Where did you find all that info? I must be clueless! I wonder which of those was responsible for these orchestral tracks? Larry? What complicates matters in the full game rip is that many are arrangements of classic franchise tunes.
tangotreats
11-05-2009, 01:11 AM
Good question... That info comes from the end credits of the game itself - each of the music staff is credited individually, including the orchestra.
Larry doesn't receive a credit for composition - only for orchestration and conducting of the Amsterdam session.
Oddly enough, Teruhiko Nakagawa receives a credit on the previous game in the series individually for composition of the opening and ending theme, and also for the arrangement thereof...
Since they're very much similar in style, I'll go out on a limb and guess that it's probably Nakagawa for these tracks too...
Larry doesn't receive a credit for composition - only for orchestration and conducting of the Amsterdam session.
Oddly enough, Teruhiko Nakagawa receives a credit on the previous game in the series individually for composition of the opening and ending theme, and also for the arrangement thereof...
Since they're very much similar in style, I'll go out on a limb and guess that it's probably Nakagawa for these tracks too...
Lens of Truth
11-05-2009, 01:23 AM
Aha. I feel a little less confused now and I suspect you're right. I get a bit obsessive compulsive about needing to have a composer listed and games seem to revel in obfuscation about exactly who did what. Your info has been added to the post in the Wii thread. Much obliged.
A random thought - how surreal is it going to be in 2012 with "Mario and Sonic at the London Olympics"?!!
A random thought - how surreal is it going to be in 2012 with "Mario and Sonic at the London Olympics"?!!
ShadowSong
11-05-2009, 01:30 AM
Have i ever mentioned how much i love this thread
and not only for the excellent discoveries of music i would have never known
but for such great intelligent discussion too. You guys never fail to cheer me up
and not only for the excellent discoveries of music i would have never known
but for such great intelligent discussion too. You guys never fail to cheer me up
Sirusjr
11-05-2009, 03:09 AM
Oh my Notspecial - You not only posted what should be a lush orchestral album but with tracks by the ever beautiful KOKIA!!!
Might I suggest you re-post the last 5 tracks in my KOKIA thread? I don't believe they are on any albums I own.
Might I suggest you re-post the last 5 tracks in my KOKIA thread? I don't believe they are on any albums I own.
NotSpecial
11-05-2009, 03:32 AM
Oh my Notspecial - You not only posted what should be a lush orchestral album but with tracks by the ever beautiful KOKIA!!!
Might I suggest you re-post the last 5 tracks in my KOKIA thread? I don't believe they are on any albums I own.
I believe those five KOKIA tracks are only available on this OST. Tomorrow I'll put those five tracks together into an unofficial EP in your KOKIA thread. =) She has an amazing voice, I agree. I don't care that I don't understand her at all (though reportedly she has a decent command of English).
It is a lush orchestral album and it also showcases Senju-san's versatility. Instead of going for a grand symphonic score with choirs everywhere like for FMA: Brotherhood, this orchestral album feels more stripped down and personal, which fits the mood of Red Garden perfectly as there is no epic story, but a deep one centered on a supernatural mystery. There is a sense of isolation and loneliness that tears at you like the monsters do to the five main characters in Red Garden. This is not a battle anime like RG was foolishly advertised as by ADV (before they lost the rights and they were regained by FUNimation). This is a deep and sympathetic supernatural mystery following five American girls who should be dead but somehow aren't and are forced to fight monsters for reasons they do not know, other than they must to survive. The anime does a good job showing the tragedy of this, the music, though, does an EXCELLENT job, the 2nd track alone proves this.
Might I suggest you re-post the last 5 tracks in my KOKIA thread? I don't believe they are on any albums I own.
I believe those five KOKIA tracks are only available on this OST. Tomorrow I'll put those five tracks together into an unofficial EP in your KOKIA thread. =) She has an amazing voice, I agree. I don't care that I don't understand her at all (though reportedly she has a decent command of English).
It is a lush orchestral album and it also showcases Senju-san's versatility. Instead of going for a grand symphonic score with choirs everywhere like for FMA: Brotherhood, this orchestral album feels more stripped down and personal, which fits the mood of Red Garden perfectly as there is no epic story, but a deep one centered on a supernatural mystery. There is a sense of isolation and loneliness that tears at you like the monsters do to the five main characters in Red Garden. This is not a battle anime like RG was foolishly advertised as by ADV (before they lost the rights and they were regained by FUNimation). This is a deep and sympathetic supernatural mystery following five American girls who should be dead but somehow aren't and are forced to fight monsters for reasons they do not know, other than they must to survive. The anime does a good job showing the tragedy of this, the music, though, does an EXCELLENT job, the 2nd track alone proves this.
mverta
11-05-2009, 03:41 AM
Mike: May I ask you about the recording sessions for Ultraman? Did you record the score in the US? The Japanese seem to be heading overseas more and more often lately - Masamichi Amano seems to record only in the USA nowadays, and the Eastern European bands are getting more work than ever. Ultraman scores traditionally get recorded in Tokyo in that God-awful Sound Inn studio.
This time around, Tsuburaya did not spring for the live orchestra; the score is virtual. All things considered, I'm not sure this score would have been possible to do live, as I had only 5 weeks to write 84 minutes. I was writing/performing until the last possible second. The score was mixed by Shawn Murphy, and I wasn't even at the sessions; I was still home writing! So I doubt I would've had the extra week necessary just to record it...
That being said, while I feel the score would've been 200% better with a live orchestra, I use the virtual palette just like I would the live palette. You could take the orchestrations out of the computer and put them right to paper. And sound-wise, I think my virtual orchestra is among the best, if you'll forgive the boast.
I have worked primarily with the A-Call players in Los Angeles (where Forbidden Warrior and the Batman Simulator Ride was performed), but I've also had sessions in Prague and Seattle, and there is absolutely no comparison. The Los Angeles players defined the genre, and there is a certain idiomatic approach to the playing, along with the jaw-dropping level of talent which sets the bar for the "sound of film music." In other places I've been to, the players could not hack the material at all, frankly; it was far too challenging for them to get right on schedule in the first place, and the performances are sorely lacking. Is a bad live orchestra better than a good virtual orchestra? I'd have to say not in my experience. But certainly there was no opportunity for live playing on Ultra Galaxy Legends, either monetarily or schedule-wise.
Of course, from various people along the way I was asked, "Is this a live group?!" which I suppose is the big comment you want to get when working virtually. Personally, I can't imagine being fooled, but the palette serves the drama, and that's what matters in the final analysis: does the dramatic intent of the music survive in the virtual domain? I certainly feel it did in the context of the mix. Here is an example of the virtual orchestra I used for UGL, in a setting which is typically worst-case scenario for virtual orchestras:
Virtual Orchestra Example (http://www.mikeverta.com/Posts/Orch_Example.mp3)
Regarding previous scores: The 800-pound gorilla in the room is the fact that in Japan, it's still 1983, musically, for the most part. Personally, I'm not as concerned with what vibe they want to go with, as much as if they hang in that vibe properly, and they do. They love their 80's thing, and they do it like they love it; unapologetically, and totally legit. I get that, and I'm with that. And this philosophy applies to much of the core of the Ultraman universe: they've still got guys in rubber monster suits punching each other, dammit, and that's the way it's going to be. I can get behind that.
But the director and producer felt from the outset that the idea was to elevate and modernize the approach to the music. We had discussions about how much to quote previous scores/themes, and the final decision was to pepper sparingly, reserving those sorts of thrill/nostalgia moments for the few true dramatic peaks where it would be appropriate. And those quotations would all exist under the arc of a modern orchestral umbrella; modern in the harmonic sense, not the orchestrational sense. There is only one "synth-y" type sound used anywhere in the score; the other 99% is traditional orchestration. Set against the completely CG environment, glowing eyes, lasers, etc., I felt it was an organic necessity, for balance.
_Mike
This time around, Tsuburaya did not spring for the live orchestra; the score is virtual. All things considered, I'm not sure this score would have been possible to do live, as I had only 5 weeks to write 84 minutes. I was writing/performing until the last possible second. The score was mixed by Shawn Murphy, and I wasn't even at the sessions; I was still home writing! So I doubt I would've had the extra week necessary just to record it...
That being said, while I feel the score would've been 200% better with a live orchestra, I use the virtual palette just like I would the live palette. You could take the orchestrations out of the computer and put them right to paper. And sound-wise, I think my virtual orchestra is among the best, if you'll forgive the boast.
I have worked primarily with the A-Call players in Los Angeles (where Forbidden Warrior and the Batman Simulator Ride was performed), but I've also had sessions in Prague and Seattle, and there is absolutely no comparison. The Los Angeles players defined the genre, and there is a certain idiomatic approach to the playing, along with the jaw-dropping level of talent which sets the bar for the "sound of film music." In other places I've been to, the players could not hack the material at all, frankly; it was far too challenging for them to get right on schedule in the first place, and the performances are sorely lacking. Is a bad live orchestra better than a good virtual orchestra? I'd have to say not in my experience. But certainly there was no opportunity for live playing on Ultra Galaxy Legends, either monetarily or schedule-wise.
Of course, from various people along the way I was asked, "Is this a live group?!" which I suppose is the big comment you want to get when working virtually. Personally, I can't imagine being fooled, but the palette serves the drama, and that's what matters in the final analysis: does the dramatic intent of the music survive in the virtual domain? I certainly feel it did in the context of the mix. Here is an example of the virtual orchestra I used for UGL, in a setting which is typically worst-case scenario for virtual orchestras:
Virtual Orchestra Example (http://www.mikeverta.com/Posts/Orch_Example.mp3)
Regarding previous scores: The 800-pound gorilla in the room is the fact that in Japan, it's still 1983, musically, for the most part. Personally, I'm not as concerned with what vibe they want to go with, as much as if they hang in that vibe properly, and they do. They love their 80's thing, and they do it like they love it; unapologetically, and totally legit. I get that, and I'm with that. And this philosophy applies to much of the core of the Ultraman universe: they've still got guys in rubber monster suits punching each other, dammit, and that's the way it's going to be. I can get behind that.
But the director and producer felt from the outset that the idea was to elevate and modernize the approach to the music. We had discussions about how much to quote previous scores/themes, and the final decision was to pepper sparingly, reserving those sorts of thrill/nostalgia moments for the few true dramatic peaks where it would be appropriate. And those quotations would all exist under the arc of a modern orchestral umbrella; modern in the harmonic sense, not the orchestrational sense. There is only one "synth-y" type sound used anywhere in the score; the other 99% is traditional orchestration. Set against the completely CG environment, glowing eyes, lasers, etc., I felt it was an organic necessity, for balance.
_Mike
bbfire
11-05-2009, 05:36 AM
Any body who has ULTRAMAN TIGA SOUNDTRACK?I am in quest of it?
jplopez
11-05-2009, 05:58 AM
can someone post a link where I can download yiruma's music?
Sirusjr
11-05-2009, 06:00 AM
I have 3 other Yiruma albums. I'll make a thread for them soon :)
streichorchester
11-05-2009, 08:02 AM
Here is an example of the virtual orchestra I used for UGL, in a setting which is typically worst-case scenario for virtual orchestras:
Virtual Orchestra Example (http://www.mikeverta.com/Posts/Orch_Example.mp3)
Wow, thanks for posting this. What samples are you using? There's lots of realism in there, all except for the timpani which seems a bit up close. Good stuff.
To me the worst-case scenario is any melodic passage for violins. It seems every articulation for strings has been masterfully imitated for virtual orchestras/libraries except the most important: the sustained arco/legato samples. I think this has caused a whole generation of digital composers to think violins only have two articulations: staccato and pizzicato.
Please post more examples if you have them.
Virtual Orchestra Example (http://www.mikeverta.com/Posts/Orch_Example.mp3)
Wow, thanks for posting this. What samples are you using? There's lots of realism in there, all except for the timpani which seems a bit up close. Good stuff.
To me the worst-case scenario is any melodic passage for violins. It seems every articulation for strings has been masterfully imitated for virtual orchestras/libraries except the most important: the sustained arco/legato samples. I think this has caused a whole generation of digital composers to think violins only have two articulations: staccato and pizzicato.
Please post more examples if you have them.
mverta
11-05-2009, 08:07 AM
Samples-wise I use basically everything ever released, in tons of layers and custom patches. It's not the sounds, it's the performance that makes the difference. Bad samples will cripple you, sure, but there are lots of decent sounds to choose from which I still hear played into totally non-realistic ways in non-realistic contexts. The articulation shortcomings are many, and it is no substitute for a live group, but I've found I'm able to hold on to the dramatic intent, especially in context of the mix, if I really try.
Here's a second example, using lush, legato strings: Orchestra Example #2 (http://www.mikeverta.com/Posts/Orch_Example_2.mp3)
_Mike
Here's a second example, using lush, legato strings: Orchestra Example #2 (http://www.mikeverta.com/Posts/Orch_Example_2.mp3)
_Mike
tangotreats
11-05-2009, 10:54 AM
This time around, Tsuburaya did not spring for the live orchestra; the score is virtual. All things considered, I'm not sure this score would have been possible to do live, as I had only 5 weeks to write 84 minutes. I was writing/performing until the last possible second. The score was mixed by Shawn Murphy, and I wasn't even at the sessions; I was still home writing! So I doubt I would've had the extra week necessary just to record it...
Fascinating! Murphy's name, for me, has always been a guarantee of quality as far as an orchestral recording is concerned... he's one of the few modern engineers who doesn't feel the need to attach a microphone to every single instrument and turn all the levels up to 100%, suck away the natural sound of the recording venue, and finally drown the final mix in artificial reverb! (Hello, Alan Meyerson...)
As far as the revelation of no-live-players go, I won't hide my slight disappointment at the news (I've been quite vocal in my criticism of emulated orchestras) but when the score is being approached with your professionalism and musicianship, I have no doubt that it will still sound magnificent.
It's interesting that the 2009's Ultraman TV series (Never Ending Odyssey) also dropped the live orchestra, in favour of a synthesised one that certainly fits in with the 80's vibe! In comparison with the 2008 series (and for most of them going back to 1966,) which featured a full, live orchestra.
I wonder why the sudden shift... I hope it's not a permanent culture change.
That being said, while I feel the score would've been 200% better with a live orchestra, I use the virtual palette just like I would the live palette. You could take the orchestrations out of the computer and put them right to paper. And sound-wise, I think my virtual orchestra is among the best, if you'll forgive the boast.
This is why you're not a hack, like so many clearly are. ;)
The samples are fascinating; whilst there's no chance of mistaking the performance for live musicians, you're absolutely right - the dramatic intention of the music isn't spoiled by the performance, and therefore you get away with it. Synth orchestras primarily fail when the compositional quality isn't up to scratch, or the composer doesn't have (sufficient) orchestral experience to program his synthesiser in the most realistic way possible.
Yes, it's a synth... but that fact tends to become something of a background issue with the themes, the arrangement, the dramatic sensibility, the composition fully in the foreground of the mind.
In other places I've been to, the players could not hack the material at all, frankly; it was far too challenging for them to get right on schedule in the first place, and the performances are sorely lacking.
In most cases, you get what you pay for... though some of these ensembles are better than others... and in general, I think it's safe to say that in very recent years, the bar has been raised somewhat. I'm hearing recordings from the City of Prague Philharmonic that sound very fine; they just don't bare comparison with some of their early nineties recordings, which are monolithically bad.
Composers, I think, "put up" with a certain drop in quality when they visit these locations, because they realise in the back of their mind that it's that or nothing... which comes neatly on to your next point! ;)
Is a bad live orchestra better than a good virtual orchestra? I'd have to say not in my experience.
Good question, and not one which has a die-cast answer... There is a school of thought that believes that, unless the hypothetical orchestra is just downright terrible, it will always be preferable to a synthesised orchestra, because it will have the humanity which is sorely missing from so many synthesised recordings.
I can go with this to a certain point, but if an orchestra is bad enough to take me out of the movie and picture a group of drunken Czech violinists sitting in a recording studio with a leaky roof, sawing their way through a passage, and the composer in the background with his head in his hands, then the dramatic intent is spoiled anyway.
Some of these scores actually have made me feel physically uncomfortable for that reason! Am I weird?
Of course, from various people along the way I was asked, "Is this a live group?!" which I suppose is the big comment you want to get when working virtually.
Of course, that's what you're aiming for! However, there are some folk who are less-atuned to those telltale signs that work like a giant "I AM A FAKE ORCHESTRA!" billboard.
Personally, I can't imagine being fooled, but the palette serves the drama, and that's what matters in the final analysis: does the dramatic intent of the music survive in the virtual domain?
Indeedso. Obviously everybody would prefer a large, competent, well-rehearsed orchestra - but what matters is that the technology doesn't spoil the composition.
Personally, I'm not as concerned with what vibe they want to go with, as much as if they hang in that vibe properly, and they do. They love their 80's thing, and they do it like they love it; unapologetically, and totally legit.
Exactly. It doesn't feel like a conscious attempt to capture the "old days" - it's simply the way they do it, and they do it that way because that's the way that works for them.
I get that, and I'm with that. And this philosophy applies to much of the core of the Ultraman universe: they've still got guys in rubber monster suits punching each other, dammit, and that's the way it's going to be. I can get behind that.
That's the way it's been done, that's the way it IS done, that's the way it's always going to be done."
But the director and producer felt from the outset that the idea was to elevate and modernize the approach to the music.
I love this quote... Japan must be one of the only places on earth where the term "modernise" doesn't automatically equate to "make crap". ;)
We had discussions about how much to quote previous scores/themes, and the final decision was to pepper sparingly, reserving those sorts of thrill/nostalgia moments for the few true dramatic peaks where it would be appropriate. And those quotations would all exist under the arc of a modern orchestral umbrella; modern in the harmonic sense, not the orchestrational sense.
Or the dramatic sense, I'm guessing.
From what I know of the film, it's following on in the grand tradition of bringing in as may previous Ultramen as possible. The temptation would obviously be to use that wealth of thematic material as a crutch, and not bother to do anything substantially new: When Ultraseven walks on, you play his theme. When Mebius comes on, you play his theme. When they work together to fight the monster we all recognise from 1976, you do a quick little mashup of both their themes and the villian's theme. It becomes a cut and paste job.
I'm therefore so glad you're going with the "sparing quotes at opportune moments" technique, and that you recognised what so few composers seem to understand: that the themes lose their lustre if you're quoting them every two seconds, and playing them in full every other cue.
Here's a second example, using lush, legato strings: Orchestra Example #2
I'll... be... right... here!
(So sorry, I couldn't resist... Please don't hate me.)
Fascinating! Murphy's name, for me, has always been a guarantee of quality as far as an orchestral recording is concerned... he's one of the few modern engineers who doesn't feel the need to attach a microphone to every single instrument and turn all the levels up to 100%, suck away the natural sound of the recording venue, and finally drown the final mix in artificial reverb! (Hello, Alan Meyerson...)
As far as the revelation of no-live-players go, I won't hide my slight disappointment at the news (I've been quite vocal in my criticism of emulated orchestras) but when the score is being approached with your professionalism and musicianship, I have no doubt that it will still sound magnificent.
It's interesting that the 2009's Ultraman TV series (Never Ending Odyssey) also dropped the live orchestra, in favour of a synthesised one that certainly fits in with the 80's vibe! In comparison with the 2008 series (and for most of them going back to 1966,) which featured a full, live orchestra.
I wonder why the sudden shift... I hope it's not a permanent culture change.
That being said, while I feel the score would've been 200% better with a live orchestra, I use the virtual palette just like I would the live palette. You could take the orchestrations out of the computer and put them right to paper. And sound-wise, I think my virtual orchestra is among the best, if you'll forgive the boast.
This is why you're not a hack, like so many clearly are. ;)
The samples are fascinating; whilst there's no chance of mistaking the performance for live musicians, you're absolutely right - the dramatic intention of the music isn't spoiled by the performance, and therefore you get away with it. Synth orchestras primarily fail when the compositional quality isn't up to scratch, or the composer doesn't have (sufficient) orchestral experience to program his synthesiser in the most realistic way possible.
Yes, it's a synth... but that fact tends to become something of a background issue with the themes, the arrangement, the dramatic sensibility, the composition fully in the foreground of the mind.
In other places I've been to, the players could not hack the material at all, frankly; it was far too challenging for them to get right on schedule in the first place, and the performances are sorely lacking.
In most cases, you get what you pay for... though some of these ensembles are better than others... and in general, I think it's safe to say that in very recent years, the bar has been raised somewhat. I'm hearing recordings from the City of Prague Philharmonic that sound very fine; they just don't bare comparison with some of their early nineties recordings, which are monolithically bad.
Composers, I think, "put up" with a certain drop in quality when they visit these locations, because they realise in the back of their mind that it's that or nothing... which comes neatly on to your next point! ;)
Is a bad live orchestra better than a good virtual orchestra? I'd have to say not in my experience.
Good question, and not one which has a die-cast answer... There is a school of thought that believes that, unless the hypothetical orchestra is just downright terrible, it will always be preferable to a synthesised orchestra, because it will have the humanity which is sorely missing from so many synthesised recordings.
I can go with this to a certain point, but if an orchestra is bad enough to take me out of the movie and picture a group of drunken Czech violinists sitting in a recording studio with a leaky roof, sawing their way through a passage, and the composer in the background with his head in his hands, then the dramatic intent is spoiled anyway.
Some of these scores actually have made me feel physically uncomfortable for that reason! Am I weird?
Of course, from various people along the way I was asked, "Is this a live group?!" which I suppose is the big comment you want to get when working virtually.
Of course, that's what you're aiming for! However, there are some folk who are less-atuned to those telltale signs that work like a giant "I AM A FAKE ORCHESTRA!" billboard.
Personally, I can't imagine being fooled, but the palette serves the drama, and that's what matters in the final analysis: does the dramatic intent of the music survive in the virtual domain?
Indeedso. Obviously everybody would prefer a large, competent, well-rehearsed orchestra - but what matters is that the technology doesn't spoil the composition.
Personally, I'm not as concerned with what vibe they want to go with, as much as if they hang in that vibe properly, and they do. They love their 80's thing, and they do it like they love it; unapologetically, and totally legit.
Exactly. It doesn't feel like a conscious attempt to capture the "old days" - it's simply the way they do it, and they do it that way because that's the way that works for them.
I get that, and I'm with that. And this philosophy applies to much of the core of the Ultraman universe: they've still got guys in rubber monster suits punching each other, dammit, and that's the way it's going to be. I can get behind that.
That's the way it's been done, that's the way it IS done, that's the way it's always going to be done."
But the director and producer felt from the outset that the idea was to elevate and modernize the approach to the music.
I love this quote... Japan must be one of the only places on earth where the term "modernise" doesn't automatically equate to "make crap". ;)
We had discussions about how much to quote previous scores/themes, and the final decision was to pepper sparingly, reserving those sorts of thrill/nostalgia moments for the few true dramatic peaks where it would be appropriate. And those quotations would all exist under the arc of a modern orchestral umbrella; modern in the harmonic sense, not the orchestrational sense.
Or the dramatic sense, I'm guessing.
From what I know of the film, it's following on in the grand tradition of bringing in as may previous Ultramen as possible. The temptation would obviously be to use that wealth of thematic material as a crutch, and not bother to do anything substantially new: When Ultraseven walks on, you play his theme. When Mebius comes on, you play his theme. When they work together to fight the monster we all recognise from 1976, you do a quick little mashup of both their themes and the villian's theme. It becomes a cut and paste job.
I'm therefore so glad you're going with the "sparing quotes at opportune moments" technique, and that you recognised what so few composers seem to understand: that the themes lose their lustre if you're quoting them every two seconds, and playing them in full every other cue.
Here's a second example, using lush, legato strings: Orchestra Example #2
I'll... be... right... here!
(So sorry, I couldn't resist... Please don't hate me.)
mverta
11-05-2009, 11:13 AM
Yes, I enjoy that ascending progression string play quite a bit. While it doesn't in fact share much in common with the E.T., cue, harmonically, the vibe and structure is unmistakable. I try to find a little place for that in all my scores if I can :) Plus, it clearly illustrates what a great score E.T. was, to be so prevalent in people's minds 30 years later that they might recognize the flavor. Shows how much forgettable work has come and gone, as much as anything.
Strictly speaking, that sort of gesture is Ravel by way of Williams, by the way, but then again, most of Williams' derivative roots are easy to discern if you know the repertoire. Without Schumann and Barber and Holst, there is no Williams, for sure.
I always campaign passionately for live players, for obvious reasons. Producers are fond of saying they don't have the budget for live players, but the truth is they just don't allocate the budget for live players. There is almost always plenty of money, spent on things which they think adds production value, but which in reality has a pathetic rate of return compared to an investment in music. That rate of return is dependent on the quality of the score, of course, so perhaps having not actually experienced the transcendent power of good music, they'd rather spend the money on name-brand snacks for the Craft Services Cart, or two more flashy CG shots, or whatever otherwise forgettable element they've traded the music in for. But a good score can do more to elevate a film than virtually any other single element of production. And it is the failure to understand or learn this lesson which must be at the heart of the "virtual orchestra" revolution, which is twice as bad, because 90% of virtual guys know nothing about working with an orchestra, which makes the mock-ups suck that much more.
Ultimately, I knew the conditions when I took the job, and considered it that much more of a challenge, which I liked. But some part of me will always have to acknowledge it as a score that "could've been," though I recognize most people won't share my bias. I appreciate a good set of ears, though, and I'm no virtual evangelist. As I've told no shortage of directors and producers over the years, using a virtual orchestra is like fucking a really good blow-up doll of your wife: might fool some people from a distance; never feels the same.
I'm therefore so glad you're going with the "sparing quotes at opportune moments" technique, and that you recognised what so few composers seem to understand: that the themes lose their lustre if you're quoting them every two seconds, and playing them in full every other cue.
The Main Title for the film, which is also the theme for a new hero they're introducing, doesn't even appear fully-fleshed out until more than an hour into the film. It is only then that the new hero truly embraces his role and identity, and during the film, the motif itself is likewise in a state of "development," not fully realized. I think having musical elements which directly and literally follow the development of characters and drama is fascinating and cool if you can pull it off structurally without sacrificing the dramatic needs of the moment. Music-wonks can then later pull apart the myriad levels of structural complexity and self-supporting development to their heart's content, while the average moviegoer simply develops a relationship with the theme which seems to "grow" over time. It's pretty cool.
I'll say a couple more words about "homage," because it's a concept which has sadly been amalgamated with "plagiarism" over time, but which historically enjoyed no such damning comparison. Any student of composition and theory, up to his/her neck in chorale study, will attest to a long tradition in composing of deliberate quotation and development of established themes and motifs. In the seminal days of what would become our modern orchestral palette, themes were held somewhat more like interesting ideas, or theories, versus copyrighted, roped-off pieces of property. One composer, (Bach, for example, tons of times) would hear another composer's melody and say to himself, "That was cool! I bet you could start with that, only take it in a different direction here and here..." Bach was well ahead of his time, as can be noted by his use of the word, "cool," but his practice was typical. And fast-forwarding through time, there are tons of quotations between landmark, familiar pieces. And fast-forwarding still, there is James Horner taking full passages lock-stock-and-barrel from repertoire pieces. To this composer, at least, there is a clear distinction between homage/tasteful, controlled quotation, and hatchet-job transplant. If you're possessed of craft, you understand what comprises the musical elements, and can musically control them in new contexts. If you don't understand them, or have no mirrors in your house, you can lift them as-is and pass them off as your own.
Somewhere along the way, probably because there were fewer competent craftsmen about, augmented by an ever-increasing tendency to treat music as property, it became an in vogue idea to pursue Complete Originality with every note, an idea which has had very little precedent in history, because there is great wisdom in learning from, and building upon previous successes, versus simply throwing them out and starting over with every piece. It is not always necessary to re-invent the wheel. And as most of these experiments reveal, it is seldom possible, anyway, and even rarer still the path to effective musical communication. So while there is a delicate balance to be found, for sure, I believe it's not only possible, but important for the whole of music; let the seminal, effective discoveries of the past seed the works of the future... they have absolute merit. And further, there is nothing worse when pursuing a harmonic goal - conveying an abstract concept like "lonliness" musically, perhaps - to know that, say, Ravel once came upon perhaps an ideal gesture for such, and then to make a deliberate attempt to do something else, just so it bears no resemblance to Ravel. This in spite of your best instincts and judgment, where you know it's right, know it works, and know it's effective. And in that moment, when you deliberately choose to ignore your instincts, and minimize Ravel's contribution, you're not really writing your own music anymore anyway. You're simply writing Not-Ravel. And without your instincts and good sense to guide you, you are lost.
Lest this sound like a roundabout defense of my own use of homage, I can fully attest to neither deliberately copping another composer's work, nor shying from usage of ideas which I've long since internalized, understand, and know how to control. If some of those ideas have roots in Barber, or Copland or Stravinsky, even Williams, well, I'm not surprised; they were geniuses. And their work, too, was built stealthily upon the shoulders of other giants. These aren't semantical distinctions; they reveal something very powerful, I feel, in the art of composing, and I have always invited challenges of my process and/or musical decisions. There's a saying: The Truth Will Out. If you're a plagiarising hack, time will reveal it.
_Mike
Strictly speaking, that sort of gesture is Ravel by way of Williams, by the way, but then again, most of Williams' derivative roots are easy to discern if you know the repertoire. Without Schumann and Barber and Holst, there is no Williams, for sure.
I always campaign passionately for live players, for obvious reasons. Producers are fond of saying they don't have the budget for live players, but the truth is they just don't allocate the budget for live players. There is almost always plenty of money, spent on things which they think adds production value, but which in reality has a pathetic rate of return compared to an investment in music. That rate of return is dependent on the quality of the score, of course, so perhaps having not actually experienced the transcendent power of good music, they'd rather spend the money on name-brand snacks for the Craft Services Cart, or two more flashy CG shots, or whatever otherwise forgettable element they've traded the music in for. But a good score can do more to elevate a film than virtually any other single element of production. And it is the failure to understand or learn this lesson which must be at the heart of the "virtual orchestra" revolution, which is twice as bad, because 90% of virtual guys know nothing about working with an orchestra, which makes the mock-ups suck that much more.
Ultimately, I knew the conditions when I took the job, and considered it that much more of a challenge, which I liked. But some part of me will always have to acknowledge it as a score that "could've been," though I recognize most people won't share my bias. I appreciate a good set of ears, though, and I'm no virtual evangelist. As I've told no shortage of directors and producers over the years, using a virtual orchestra is like fucking a really good blow-up doll of your wife: might fool some people from a distance; never feels the same.
I'm therefore so glad you're going with the "sparing quotes at opportune moments" technique, and that you recognised what so few composers seem to understand: that the themes lose their lustre if you're quoting them every two seconds, and playing them in full every other cue.
The Main Title for the film, which is also the theme for a new hero they're introducing, doesn't even appear fully-fleshed out until more than an hour into the film. It is only then that the new hero truly embraces his role and identity, and during the film, the motif itself is likewise in a state of "development," not fully realized. I think having musical elements which directly and literally follow the development of characters and drama is fascinating and cool if you can pull it off structurally without sacrificing the dramatic needs of the moment. Music-wonks can then later pull apart the myriad levels of structural complexity and self-supporting development to their heart's content, while the average moviegoer simply develops a relationship with the theme which seems to "grow" over time. It's pretty cool.
I'll say a couple more words about "homage," because it's a concept which has sadly been amalgamated with "plagiarism" over time, but which historically enjoyed no such damning comparison. Any student of composition and theory, up to his/her neck in chorale study, will attest to a long tradition in composing of deliberate quotation and development of established themes and motifs. In the seminal days of what would become our modern orchestral palette, themes were held somewhat more like interesting ideas, or theories, versus copyrighted, roped-off pieces of property. One composer, (Bach, for example, tons of times) would hear another composer's melody and say to himself, "That was cool! I bet you could start with that, only take it in a different direction here and here..." Bach was well ahead of his time, as can be noted by his use of the word, "cool," but his practice was typical. And fast-forwarding through time, there are tons of quotations between landmark, familiar pieces. And fast-forwarding still, there is James Horner taking full passages lock-stock-and-barrel from repertoire pieces. To this composer, at least, there is a clear distinction between homage/tasteful, controlled quotation, and hatchet-job transplant. If you're possessed of craft, you understand what comprises the musical elements, and can musically control them in new contexts. If you don't understand them, or have no mirrors in your house, you can lift them as-is and pass them off as your own.
Somewhere along the way, probably because there were fewer competent craftsmen about, augmented by an ever-increasing tendency to treat music as property, it became an in vogue idea to pursue Complete Originality with every note, an idea which has had very little precedent in history, because there is great wisdom in learning from, and building upon previous successes, versus simply throwing them out and starting over with every piece. It is not always necessary to re-invent the wheel. And as most of these experiments reveal, it is seldom possible, anyway, and even rarer still the path to effective musical communication. So while there is a delicate balance to be found, for sure, I believe it's not only possible, but important for the whole of music; let the seminal, effective discoveries of the past seed the works of the future... they have absolute merit. And further, there is nothing worse when pursuing a harmonic goal - conveying an abstract concept like "lonliness" musically, perhaps - to know that, say, Ravel once came upon perhaps an ideal gesture for such, and then to make a deliberate attempt to do something else, just so it bears no resemblance to Ravel. This in spite of your best instincts and judgment, where you know it's right, know it works, and know it's effective. And in that moment, when you deliberately choose to ignore your instincts, and minimize Ravel's contribution, you're not really writing your own music anymore anyway. You're simply writing Not-Ravel. And without your instincts and good sense to guide you, you are lost.
Lest this sound like a roundabout defense of my own use of homage, I can fully attest to neither deliberately copping another composer's work, nor shying from usage of ideas which I've long since internalized, understand, and know how to control. If some of those ideas have roots in Barber, or Copland or Stravinsky, even Williams, well, I'm not surprised; they were geniuses. And their work, too, was built stealthily upon the shoulders of other giants. These aren't semantical distinctions; they reveal something very powerful, I feel, in the art of composing, and I have always invited challenges of my process and/or musical decisions. There's a saying: The Truth Will Out. If you're a plagiarising hack, time will reveal it.
_Mike
tangotreats
11-05-2009, 12:38 PM
I passionately hope that you didn't take my (intended as) friendly ET jibe as an attack, or an accusation.
Your commentary on plagiarism versus homage is incredibly valuable - as it clearly distinguishes between the two.
I have heard cases of outright plagiarism explained away with "It's a homage!" and conversely, intelligent homages dismissed as "He stole that from the second movement of Sir Reginald J Hogsweed Ramsbottom III's 156th symphony in A Minor!"
I also admire your use of that passage as something of a signature. I have a few of these - musical fingerprints, if you like, which I try to incorporate in my music whenever I can. I also quoted a bar from Bernard Herrmann's Fahrenheit 451 in a recent score (my first that I didn't get fired from, rejected, or the project fell through entirely,) and fully intended it as a homage; I had approached the cue from a Herrmannesque dramatic standpoint, so it made sense.
Music has always been built on borrowing - as you said, Bach was doing it three hundred years ago.
"Why should every coachbuilder re-invent the wheel?" - anonymous
It's become a big issue in recent years because incompetent people, and morally bankrupt people have started to use other people's music as a shortcut, or to cover their own inadequacies - and in these cases, it's painfully obvious. Whereas previously a composer may have quoted another piece out of respect, or used his material as an inspiration to do his own thing in his own language, filtered through his own musical sensibility, now he is simply hijacking somebody else's work; so he doesn't have to work as hard.
Apart from these thoughts, I'll comment no more on what you said, because I agree absolutely with every word, and so whatever I said would be redundant.
I always campaign passionately for live players, for obvious reasons. Producers are fond of saying they don't have the budget for live players, but the truth is they just don't allocate the budget for live players. There is almost always plenty of money, spent on things which they think adds production value...
Indeed - further examples of music being underestimated, and of producers not really understanding its value and impact.
Some of the producers I've known have been of the opinion that the music doesn't matter because it's not on the screen. It may not be on the screen, but it's in the minds of every single one of your audience! So many composers in the past have been forced (either by embarassed directors, or by their own realisation) to prop up a dreadful movie with their music.
And yet, for probably the majority of (modern) filmmakers, music is the necessary evil - the part of the production that doesn't really matter as long as somebody does it.
If there's money to spend, it'll go toward getting another big-name actor who will help you sell DVDs, or a bit of impressive CGI to disguise your crappy plot. It won't go to the score. Even though it probably should.
Sad, really...
I envy those lucky composers out there who are also highly skilled CGI artists... ;)
Your commentary on plagiarism versus homage is incredibly valuable - as it clearly distinguishes between the two.
I have heard cases of outright plagiarism explained away with "It's a homage!" and conversely, intelligent homages dismissed as "He stole that from the second movement of Sir Reginald J Hogsweed Ramsbottom III's 156th symphony in A Minor!"
I also admire your use of that passage as something of a signature. I have a few of these - musical fingerprints, if you like, which I try to incorporate in my music whenever I can. I also quoted a bar from Bernard Herrmann's Fahrenheit 451 in a recent score (my first that I didn't get fired from, rejected, or the project fell through entirely,) and fully intended it as a homage; I had approached the cue from a Herrmannesque dramatic standpoint, so it made sense.
Music has always been built on borrowing - as you said, Bach was doing it three hundred years ago.
"Why should every coachbuilder re-invent the wheel?" - anonymous
It's become a big issue in recent years because incompetent people, and morally bankrupt people have started to use other people's music as a shortcut, or to cover their own inadequacies - and in these cases, it's painfully obvious. Whereas previously a composer may have quoted another piece out of respect, or used his material as an inspiration to do his own thing in his own language, filtered through his own musical sensibility, now he is simply hijacking somebody else's work; so he doesn't have to work as hard.
Apart from these thoughts, I'll comment no more on what you said, because I agree absolutely with every word, and so whatever I said would be redundant.
I always campaign passionately for live players, for obvious reasons. Producers are fond of saying they don't have the budget for live players, but the truth is they just don't allocate the budget for live players. There is almost always plenty of money, spent on things which they think adds production value...
Indeed - further examples of music being underestimated, and of producers not really understanding its value and impact.
Some of the producers I've known have been of the opinion that the music doesn't matter because it's not on the screen. It may not be on the screen, but it's in the minds of every single one of your audience! So many composers in the past have been forced (either by embarassed directors, or by their own realisation) to prop up a dreadful movie with their music.
And yet, for probably the majority of (modern) filmmakers, music is the necessary evil - the part of the production that doesn't really matter as long as somebody does it.
If there's money to spend, it'll go toward getting another big-name actor who will help you sell DVDs, or a bit of impressive CGI to disguise your crappy plot. It won't go to the score. Even though it probably should.
Sad, really...
I envy those lucky composers out there who are also highly skilled CGI artists... ;)
mverta
11-05-2009, 01:07 PM
I envy those lucky composers out there who are also highly skilled CGI artists... ;)
...who know first-hand just how much more valued CG is than music, generally :) By the way, there is also a little figure from Thomas Dolby's She Blinded Me With Science that I sneak into my scores, though oddly nobody ever "calls me" on that one ;)
Final thoughts on virtual orchestras: There's another issue looming, which I'm forced to consider again in light of an email I received not 5 minutes ago from Sony praising the soundtrack (they say the only clues they found to make them realize it wasn't live was the precise nature of the tempos, and the lack of noise (!)): When the producers are happy, the director is happy, the parent Studios (in this case, Warner Bros. for the picture and Sony for the soundtrack) are happy, and the early-press critics are happy, and nobody can apparently tell the difference in sound, what is the leveraging argument in favor of using a live group should we do a sequel? It is an extremely difficult sell in the first place, let alone in this situation. "I'm really glad you're happy and I know you think it sounds good, but really, it didn't, compared to a live group. No, really, I need 4 times the money next time. It's worth it, you just have to take my word for it. If you think this was great, it'll be 10x as great. Seriously." You can't call them ignorant and you can't bash your score without being subject to the lose-lose of why, then, you apparently delivered a crap score. You certainly don't want to turn in a non-effective score and then point the finger and say "I told you so."
So you're at the unfortunate crossroads of being in ultimatum territory, where you simply say, "Well I'm not doing that again without a live group," and be prepared to walk away. I've done that; you have to from time to time, but more often than not, the idea that your Irreplaceable Value will win the day turns out to be apocryphal. Because in that ultimatum moment, the real question they're asking themselves is not about the music or the quality of the film, but whether they want to give up some of their money. The answer is almost always no. I've found that if they don't already get it, they're probably not going to get it. And if you deliver a virtual score and they like it, it serves to confirm their justifications. I'm not 100% sure it isn't doing a disservice to the whole of film scoring to accept such a job, but I wouldn't have wanted to miss the chance to contribute to this great series, musically, either.
More to come, I'm sure, on that one...
_Mike
...who know first-hand just how much more valued CG is than music, generally :) By the way, there is also a little figure from Thomas Dolby's She Blinded Me With Science that I sneak into my scores, though oddly nobody ever "calls me" on that one ;)
Final thoughts on virtual orchestras: There's another issue looming, which I'm forced to consider again in light of an email I received not 5 minutes ago from Sony praising the soundtrack (they say the only clues they found to make them realize it wasn't live was the precise nature of the tempos, and the lack of noise (!)): When the producers are happy, the director is happy, the parent Studios (in this case, Warner Bros. for the picture and Sony for the soundtrack) are happy, and the early-press critics are happy, and nobody can apparently tell the difference in sound, what is the leveraging argument in favor of using a live group should we do a sequel? It is an extremely difficult sell in the first place, let alone in this situation. "I'm really glad you're happy and I know you think it sounds good, but really, it didn't, compared to a live group. No, really, I need 4 times the money next time. It's worth it, you just have to take my word for it. If you think this was great, it'll be 10x as great. Seriously." You can't call them ignorant and you can't bash your score without being subject to the lose-lose of why, then, you apparently delivered a crap score. You certainly don't want to turn in a non-effective score and then point the finger and say "I told you so."
So you're at the unfortunate crossroads of being in ultimatum territory, where you simply say, "Well I'm not doing that again without a live group," and be prepared to walk away. I've done that; you have to from time to time, but more often than not, the idea that your Irreplaceable Value will win the day turns out to be apocryphal. Because in that ultimatum moment, the real question they're asking themselves is not about the music or the quality of the film, but whether they want to give up some of their money. The answer is almost always no. I've found that if they don't already get it, they're probably not going to get it. And if you deliver a virtual score and they like it, it serves to confirm their justifications. I'm not 100% sure it isn't doing a disservice to the whole of film scoring to accept such a job, but I wouldn't have wanted to miss the chance to contribute to this great series, musically, either.
More to come, I'm sure, on that one...
_Mike
arthierr
11-05-2009, 09:25 PM
Any body who has ULTRAMAN TIGA SOUNDTRACK?I am in quest of it?
Here you go.
http://www.4shared.com/file/38546632/ad12ed03/Ultraman_Tiga_-_Music_Collection.html
Here you go.
http://www.4shared.com/file/38546632/ad12ed03/Ultraman_Tiga_-_Music_Collection.html
Sirusjr
11-05-2009, 09:50 PM
BTW guys i suggest you check out the soundtrack for The Men who Stare at Goats by Rolfe Kent. It is an interesting score with some minor orchestral elements and a pervasive relaxing feel to it. I really wasn't expecting much but it is enjoyable upon my first listen. I know it has been posted around these parts so give it a listen :)
arthierr
11-05-2009, 10:19 PM
I have a comment about virtual orchestras. I've been interested a lot in them, collecting thousands of patches from many places, and using the various professional ones (Vienna, EWQL, Garritan...). I also used to create my own soundfonts for personal use by ripping, editing and combining the waws extracted from them. Very fun activity.
Orchestral libraries nowadays aren't what they used to be anymore, 5-10 years before anybody could tell the difference between a real orchestral performance and a simulated one, even the least interested in orchestral music person. This difference tends to diminish more and more. Since 1-2 years, I listened to virtual orchestral performances that really impressed me. I managed to identify them as fake, because I'm a voracious orchestral listener since many years, with a trained ear, but I'm pretty sure regular people couldn't tell the difference.
The question then would be at what point will evolve these libraries? What level of realism will they reach? 90-95% of the real thing? And so what will happen to authentic orchestral music in medias, played live? In the future (or now already), I guess movie producers will ask themselves this question: will I spend 400-1000% more money to get a sound 5-10% superior, especially in action movies where there's so much SFX that the music itself is barely hearable? Producers are money makers (and savers), so simple pragmatism will make them say: no.
Ps: sorry for my average english, it's not my primary language.
Orchestral libraries nowadays aren't what they used to be anymore, 5-10 years before anybody could tell the difference between a real orchestral performance and a simulated one, even the least interested in orchestral music person. This difference tends to diminish more and more. Since 1-2 years, I listened to virtual orchestral performances that really impressed me. I managed to identify them as fake, because I'm a voracious orchestral listener since many years, with a trained ear, but I'm pretty sure regular people couldn't tell the difference.
The question then would be at what point will evolve these libraries? What level of realism will they reach? 90-95% of the real thing? And so what will happen to authentic orchestral music in medias, played live? In the future (or now already), I guess movie producers will ask themselves this question: will I spend 400-1000% more money to get a sound 5-10% superior, especially in action movies where there's so much SFX that the music itself is barely hearable? Producers are money makers (and savers), so simple pragmatism will make them say: no.
Ps: sorry for my average english, it's not my primary language.
Sirusjr
11-05-2009, 10:40 PM
Sadly I agree Artheirr. Thus the only reason any studio would want to spend the extra money on a full orchestral soundtrack is when either (1) They give a composer like Horner full control over the soundtrack (2) They have a massive budget and most importantly (3) Whoever is in charge understands the value of using a real orchestra and specifically requests it.
I can enjoy a synth track as much as the next guy but they rarely give me the same feeling as the full orchestral work.
I can enjoy a synth track as much as the next guy but they rarely give me the same feeling as the full orchestral work.
arthierr
11-05-2009, 10:43 PM
Regarding previous scores: The 800-pound gorilla in the room is the fact that in Japan, it's still 1983, musically, for the most part. Personally, I'm not as concerned with what vibe they want to go with, as much as if they hang in that vibe properly, and they do. They love their 80's thing, and they do it like they love it; unapologetically, and totally legit.
ET, Conan, Indiana Jones, Krull, Cocoon, Star Wars 2 and 3 (or episodes 5 and 6, sorry SW geeks!), and many other scores of this caliber are from the early 80's. See, that's why people here are so fond of japanese orchestral scores, because they're in the same vein than these masterpieces: pure neo-classical grand symphonic music.
So thank you, thank you so much Japan, to musically stick to this period!
ET, Conan, Indiana Jones, Krull, Cocoon, Star Wars 2 and 3 (or episodes 5 and 6, sorry SW geeks!), and many other scores of this caliber are from the early 80's. See, that's why people here are so fond of japanese orchestral scores, because they're in the same vein than these masterpieces: pure neo-classical grand symphonic music.
So thank you, thank you so much Japan, to musically stick to this period!
arthierr
11-05-2009, 10:57 PM
Sadly I agree Artheirr. Thus the only reason any studio would want to spend the extra money on a full orchestral soundtrack is when either (1) They give a composer like Horner full control over the soundtrack (2) They have a massive budget and most importantly (3) Whoever is in charge understands the value of using a real orchestra and specifically requests it.
I can enjoy a synth track as much as the next guy but they rarely give me the same feeling as the full orchestral work.
I sometimes believe that modern Hollywood directors and producers don't believe so much in the value of music in movies, compared to the past generation: some directors like Franklin J. Schaffner and David Lean were real music lovers, they understood the importance of music, especially symphonic music, in their movies: Everybody knows the result.
Nowadays this kind of musically cultured, educated directors / producers seem not so present in Hollywood - but I may be wrong, maybe some of them are such, so the question is: who? If someone can cite one or two names, please do.
I can enjoy a synth track as much as the next guy but they rarely give me the same feeling as the full orchestral work.
I sometimes believe that modern Hollywood directors and producers don't believe so much in the value of music in movies, compared to the past generation: some directors like Franklin J. Schaffner and David Lean were real music lovers, they understood the importance of music, especially symphonic music, in their movies: Everybody knows the result.
Nowadays this kind of musically cultured, educated directors / producers seem not so present in Hollywood - but I may be wrong, maybe some of them are such, so the question is: who? If someone can cite one or two names, please do.
Sirusjr
11-05-2009, 11:12 PM
Well Tom Tykwer is highly understanding of the importance of music because he is also a composer for many of his films. Of course most of his soundtracks are techno-focused but he still understands the importance of music.
Edward Zwick always seems to have great soundtracks for his films EX: Legends of the Fall, Defiance, The Last Samurai (Even a good orcehstral Zimmer), Blood Diamond, Glory.
Edward Zwick always seems to have great soundtracks for his films EX: Legends of the Fall, Defiance, The Last Samurai (Even a good orcehstral Zimmer), Blood Diamond, Glory.
tangotreats
11-06-2009, 12:57 AM
Orchestral libraries nowadays aren't what they used to be anymore, 5-10 years before anybody could tell the difference between a real orchestral performance and a simulated one, even the least interested in orchestral music person......... The question then would be at what point will evolve these libraries? What level of realism will they reach? 90-95% of the real thing? And so what will happen to authentic orchestral music in medias, played live? In the future (or now already), I guess movie producers will ask themselves this question: will I spend 400-1000% more money to get a sound 5-10% superior, especially in action movies where there's so much SFX that the music itself is barely hearable? Producers are money makers (and savers), so simple pragmatism will make them say: no.
I suspect that sample libraries will reach a plateau of realism, and I suspect that we're not far away from this right now. The main differences between past sample libraries and present is sample length and articulations - ie, more samples to reflect different playing styles. There's some stupendously clever stuff going on with things like EWQL, but ultimately the basic concept isn't going to change; you're triggering a number of pre-recorded sounds to play together.
Synthesisers are ALREADY good enough to fool 99.999999999% of people. As far as studios are concerned, they're as viable now as they'll ever be.
Also, I'm actually a little less worried about the future... Fake orchestras have been around for twenty years. They've only just got GOOD in the last ten or even five, but the concept itself is old. The "new technology" comes and everybody uses it: "Oh, we can save money!" they say. But, ultimately, when push comes to shove, 95% of the time you get a live orchestra. Whereas Western TV scores in years gone by were largely synthesised affairs, now you're getting more and more of them bringing live ensembles - some even with full symphony orchestras - back into the studio.
Particularly in Japan; they're still using regular-sized orchestras for all sorts of TV shows - dramas, animations, documentaries, etc. I think if the tide was going to turn, it would've done by now. But history teaches us that new scoring techniques come and go and change and evolve - but there is one constant; human beings are necessary to perform music, because music is a human experience.
If synthesised scores were going to become the rule, not the exception, it would've happened by now. Even with these awful Zimmer scores, which plainly do NOT NEED an orchestra in any shape or form, are getting recorded with 100 piece ensembles.
And whole new genres are opening up which now routinely use an orchestra (video games) whereas ten or fifteen years ago, it was a conspicuous rarity.
I think (at least, I sincerely hope) that synthesised orchestras will remain a less-desirable, but nevertheless increasingly competent alternative to a real one.
I think in most cases, the desire for a live orchestra will always be there, even if in some cases (like Mike's with Ultraman) there isn't the time or the money. In the quote he received from Sony, you can even feel the pro-orchestra bias there: they complimented him on his excellent orchestral sound, and were pleased at how well it approximated the real thing. If they didn't care, they'd probably write "Thanks for the score, it's great! And it was so much cheaper than the last time!" and that would be that.
The magic you ONLY GET with live musicians is felt by everybody. Praising a good synthesised score doesn't change that. I'm going to buy Mike's Ultraman score (well, actually I already HAVE - I have it on pre-order at CD Japan,) and I'm probably going to really enjoy it - for its compositional quality and scope - but I'll still think that the greatness of the music would be better represented by a live orchestra.
I think producers and directors alike will react the same. They'll be overjoyed that their synthesised score sounds as good as it does, but at the same time they will realise the benefits that a live performance would bring.
If I were Tsubaraya, and I'd asked Mike to score Ultraman, and I didn't have enough budget to offer him a live orchestra... and then I heard the work that he turned in on his synthesiser... I'd work doubly hard to give him a 100 piece LSO the next time around. I'd probably be able to use the score as a bargaining chip when asking for a bigger budget.
"This is great: Let's make it greater." instead of "This is good enough. Hooray, we saved a lot of money."
I suspect that sample libraries will reach a plateau of realism, and I suspect that we're not far away from this right now. The main differences between past sample libraries and present is sample length and articulations - ie, more samples to reflect different playing styles. There's some stupendously clever stuff going on with things like EWQL, but ultimately the basic concept isn't going to change; you're triggering a number of pre-recorded sounds to play together.
Synthesisers are ALREADY good enough to fool 99.999999999% of people. As far as studios are concerned, they're as viable now as they'll ever be.
Also, I'm actually a little less worried about the future... Fake orchestras have been around for twenty years. They've only just got GOOD in the last ten or even five, but the concept itself is old. The "new technology" comes and everybody uses it: "Oh, we can save money!" they say. But, ultimately, when push comes to shove, 95% of the time you get a live orchestra. Whereas Western TV scores in years gone by were largely synthesised affairs, now you're getting more and more of them bringing live ensembles - some even with full symphony orchestras - back into the studio.
Particularly in Japan; they're still using regular-sized orchestras for all sorts of TV shows - dramas, animations, documentaries, etc. I think if the tide was going to turn, it would've done by now. But history teaches us that new scoring techniques come and go and change and evolve - but there is one constant; human beings are necessary to perform music, because music is a human experience.
If synthesised scores were going to become the rule, not the exception, it would've happened by now. Even with these awful Zimmer scores, which plainly do NOT NEED an orchestra in any shape or form, are getting recorded with 100 piece ensembles.
And whole new genres are opening up which now routinely use an orchestra (video games) whereas ten or fifteen years ago, it was a conspicuous rarity.
I think (at least, I sincerely hope) that synthesised orchestras will remain a less-desirable, but nevertheless increasingly competent alternative to a real one.
I think in most cases, the desire for a live orchestra will always be there, even if in some cases (like Mike's with Ultraman) there isn't the time or the money. In the quote he received from Sony, you can even feel the pro-orchestra bias there: they complimented him on his excellent orchestral sound, and were pleased at how well it approximated the real thing. If they didn't care, they'd probably write "Thanks for the score, it's great! And it was so much cheaper than the last time!" and that would be that.
The magic you ONLY GET with live musicians is felt by everybody. Praising a good synthesised score doesn't change that. I'm going to buy Mike's Ultraman score (well, actually I already HAVE - I have it on pre-order at CD Japan,) and I'm probably going to really enjoy it - for its compositional quality and scope - but I'll still think that the greatness of the music would be better represented by a live orchestra.
I think producers and directors alike will react the same. They'll be overjoyed that their synthesised score sounds as good as it does, but at the same time they will realise the benefits that a live performance would bring.
If I were Tsubaraya, and I'd asked Mike to score Ultraman, and I didn't have enough budget to offer him a live orchestra... and then I heard the work that he turned in on his synthesiser... I'd work doubly hard to give him a 100 piece LSO the next time around. I'd probably be able to use the score as a bargaining chip when asking for a bigger budget.
"This is great: Let's make it greater." instead of "This is good enough. Hooray, we saved a lot of money."
Sirusjr
11-06-2009, 04:53 AM
For those who loved Doggy Poo - I posted a thread with more Yiruma music :)
http://forums.ffshrine.org/showthread.php?p=1360633#post1360633
http://forums.ffshrine.org/showthread.php?p=1360633#post1360633
streichorchester
11-06-2009, 06:45 AM
Strictly speaking, that sort of gesture is Ravel by way of Williams, by the way, but then again, most of Williams' derivative roots are easy to discern if you know the repertoire.
It's obviously Howard Hanson's Romantic Symphony which was the unrefutable template for E.T. (and to some extent, Superman.)
If you're a plagiarising hack, time will reveal it.
For some reason when it comes to film scoring no one seems to care when it does. :(
It's obviously Howard Hanson's Romantic Symphony which was the unrefutable template for E.T. (and to some extent, Superman.)
If you're a plagiarising hack, time will reveal it.
For some reason when it comes to film scoring no one seems to care when it does. :(
jakob
11-06-2009, 08:10 AM
This is a piece for Wind Band by David Maslanka. I don't know if any of you are familiar with his work, but I figured some of you might enjoy this one. The performance was done last year by the University of Utah, so forgive any errors, but focus on the music (For example, the horn and euphonium line after the tempo change in the first movement loses a few of the attacks on the A and just holds, instead of how the euphonium later plays it in solo form in the same movement) I've included a picture of the composer for those who want album art for ipods and whatnot, as this is not an official release.
There are three movements, each very interesting. The piece is about 50 minutes in length, and I find each minute completely captivating. If anyone has a copy of "A Child's Garden of Dreams" also by David Maslanka, I would love to see it also... The piece could be described as haunting, pensive, mournful, maybe even tormented, but definitely joyful in the third movement.
At any rate, I hope you enjoy David Maslanka's Symphony no. 8.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
There are three movements, each very interesting. The piece is about 50 minutes in length, and I find each minute completely captivating. If anyone has a copy of "A Child's Garden of Dreams" also by David Maslanka, I would love to see it also... The piece could be described as haunting, pensive, mournful, maybe even tormented, but definitely joyful in the third movement.
At any rate, I hope you enjoy David Maslanka's Symphony no. 8.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
tangotreats
11-06-2009, 10:37 AM
It's obviously Howard Hanson's Romantic Symphony which was the unrefutable template for E.T. (and to some extent, Superman.)
I'm constantly playing Hanson (and others - Korngold, Barber, etc) to friends who enjoy John Williams. It has certainly opened a few eyes; folk who previously assumed that Williams is a superhuman deity who single-handedly forged that style of music, suddenly begin to understand him in context. Not to diminish the quality, range, and individuality of Williams' work - but merely to understand how and why he developed the way he did, and what particularly inspired him.
For some reason when it comes to film scoring no one seems to care when it does. :(
Ain't that the truth... This is a world where Tyler Bates, James Horner, Yoko Kanno, Hans Zimmer, etc, are all somehow not behind bars, or at least the subject of regular, crippling lawsuits. (Yes, I know some of these folks have indeed been sued, but it doesn't appear to have impacted their popularity (both with the public and with studios,) or their propensity to forge bravely ahead with their next musical burglary.
I'm constantly playing Hanson (and others - Korngold, Barber, etc) to friends who enjoy John Williams. It has certainly opened a few eyes; folk who previously assumed that Williams is a superhuman deity who single-handedly forged that style of music, suddenly begin to understand him in context. Not to diminish the quality, range, and individuality of Williams' work - but merely to understand how and why he developed the way he did, and what particularly inspired him.
For some reason when it comes to film scoring no one seems to care when it does. :(
Ain't that the truth... This is a world where Tyler Bates, James Horner, Yoko Kanno, Hans Zimmer, etc, are all somehow not behind bars, or at least the subject of regular, crippling lawsuits. (Yes, I know some of these folks have indeed been sued, but it doesn't appear to have impacted their popularity (both with the public and with studios,) or their propensity to forge bravely ahead with their next musical burglary.
mverta
11-06-2009, 01:48 PM
Beyond the obvious quotations from Hanson, Holst and Barber, there's tons of stuff in Schumann, Elgar, Copland, even Penderecki that shows up in Williams scores for sure. For a short stint there in the late 70's he caught quite a bit of flak for it from critics who seemed to silence after a few of those landmark scores where he proved he had plenty of inspired things to say on his own.
_Mike
_Mike
tangotreats
11-06-2009, 04:04 PM
Penderecki? Now I'm curious...!
jakob
11-06-2009, 04:42 PM
I'm surprised you haven't mentioned prokofiev yet. He's the one that always stands out to me the most as being the most similar to John Williams' style.
streichorchester
11-06-2009, 07:59 PM
James Horner and Yoko Kanno share the monopoly on Prokofiev.
mverta
11-06-2009, 09:29 PM
I could name tons of individual pieces/composers; I wasn't presenting a comprehensive list. The point is that there's plenty of shoulder-standing going on, that's all. :)
_Mike
_Mike
jakob
11-06-2009, 09:47 PM
James Horner and Yoko Kanno share the monopoly on Prokofiev.
I don't know, there are parts of Dennis the Menace (Goldsmith) that I swear were ripped straight from the second movement of Prokofiev 5, mvt. 2. LOTS of people rip off prokofiev. I will say about Yoko Kanno, however, that i've heard her copy all sorts as well, from Rimsky-Korsakov to John Williams to Ravel to who knows who else. I keep loving her music, though :)
I agree with Mike. There would be no great film music as we know it today without the great composers of the 19th and 20th centuries. (and you could keep saying the same thing back to antiquity, as in Ancient Greece. )
I don't know, there are parts of Dennis the Menace (Goldsmith) that I swear were ripped straight from the second movement of Prokofiev 5, mvt. 2. LOTS of people rip off prokofiev. I will say about Yoko Kanno, however, that i've heard her copy all sorts as well, from Rimsky-Korsakov to John Williams to Ravel to who knows who else. I keep loving her music, though :)
I agree with Mike. There would be no great film music as we know it today without the great composers of the 19th and 20th centuries. (and you could keep saying the same thing back to antiquity, as in Ancient Greece. )
stelmak
11-07-2009, 11:34 AM
THANKS
etriple
11-07-2009, 07:00 PM
Hey, guys, just want to express my appreciation for this thread. I've come into contact with a number of inspiring scores that I would have otherwise never ever listened to had it not been for your contributions/recommendations. This thread is one of the best things to come into my life, music-wise.
Anyway, not sure if any of you have this rare score: The Emperor and the Assassin (or Jīng Kē c� Q�n W�ng)?
Much appreciated!
Anyway, not sure if any of you have this rare score: The Emperor and the Assassin (or Jīng Kē c� Q�n W�ng)?
Much appreciated!
Sirusjr
11-08-2009, 02:53 AM
Harmony ~ Jpop Meets Classics For a Slow Life
|Orchestral|Melodic|Classical|
|Performed by the Warsaw National Philharmonic Orchestra|
|MP3|192kbps|4CD|
http://anonym.to/?http://www.megaupload.com/?d=36ESHLO0
Disc1：Morning Cａｌｌ - CD (BoA)
1.JEWEL SONG
2.Key～eternal tie ver．～
3.Yesterday & Today
4.愛の謳 (Ai no Uta)
5.Dearest
6.LISTEN TO MY HEART
7.Love & Peace Forever
8.there is．．．
9.Over
10.VALENTI
11.IS IT YOU？
12.Close to you
13.Shine We Are！
14.Can't Stop Fallin' in Love
15.RAINBOW（Aはロゴ表記）
Disc2：Afternoon Tｅａ - CD (Ayumi Hamasaki)
1.Voyage
2.fragile
3.Is this love
4.気持ちはつたわる (Kimochi Wa Tsutawaru)
5.by myself
6.Greatful days
7.flower
8.LEGEND OF WIND
9.LOVE 2000
10.TO BE
11.Every Heart－ミンナノキモチ－
12.Week！
13.UNSPEAKABLE
14.SEASONS
15.Nothing�s gonna change
Disc3：Dinner Time - CD (Utada Hikaru)
1.SAKURA ドロップス
2.First Love
3.光 (Hikari)
4.traveｌing
5.DISTANCE
6.Movin� on without you
7.Automatic
8.Wait & See ～ リスク ～
9.Can You Keep A Secret？
10.For You
11.time will tell
12.COLORS
Disc4：Dream Sleep - CD
1.深い森 (Fukai Mori)
2.HANABI
3.奇蹟 (Kiseki)
4.寒い夜だから・・・ (Samui Yoru Dakara)
5.appears
6.DEPARTURES
7.世界の片隅で (Sekai wo Katsumi De)
8.真実の詩 (Shinjitsu no Uta)
9.Dolls
10.MOON & SUNRISE
11.孤独な空 (Kodoku na Sora)
12.Oasis
13.Who．．．
14.nostalgia
15.LOVE ～Destiny～
This album contains music from Utada Hikaru, BoA, and a few other artists. If you are a fan of the artists and have listened to them a lot you should recognize the melodies. Even if you haven't, this is a wonderful album to check out.
|Orchestral|Melodic|Classical|
|Performed by the Warsaw National Philharmonic Orchestra|
|MP3|192kbps|4CD|
http://anonym.to/?http://www.megaupload.com/?d=36ESHLO0
Disc1：Morning Cａｌｌ - CD (BoA)
1.JEWEL SONG
2.Key～eternal tie ver．～
3.Yesterday & Today
4.愛の謳 (Ai no Uta)
5.Dearest
6.LISTEN TO MY HEART
7.Love & Peace Forever
8.there is．．．
9.Over
10.VALENTI
11.IS IT YOU？
12.Close to you
13.Shine We Are！
14.Can't Stop Fallin' in Love
15.RAINBOW（Aはロゴ表記）
Disc2：Afternoon Tｅａ - CD (Ayumi Hamasaki)
1.Voyage
2.fragile
3.Is this love
4.気持ちはつたわる (Kimochi Wa Tsutawaru)
5.by myself
6.Greatful days
7.flower
8.LEGEND OF WIND
9.LOVE 2000
10.TO BE
11.Every Heart－ミンナノキモチ－
12.Week！
13.UNSPEAKABLE
14.SEASONS
15.Nothing�s gonna change
Disc3：Dinner Time - CD (Utada Hikaru)
1.SAKURA ドロップス
2.First Love
3.光 (Hikari)
4.traveｌing
5.DISTANCE
6.Movin� on without you
7.Automatic
8.Wait & See ～ リスク ～
9.Can You Keep A Secret？
10.For You
11.time will tell
12.COLORS
Disc4：Dream Sleep - CD
1.深い森 (Fukai Mori)
2.HANABI
3.奇蹟 (Kiseki)
4.寒い夜だから・・・ (Samui Yoru Dakara)
5.appears
6.DEPARTURES
7.世界の片隅で (Sekai wo Katsumi De)
8.真実の詩 (Shinjitsu no Uta)
9.Dolls
10.MOON & SUNRISE
11.孤独な空 (Kodoku na Sora)
12.Oasis
13.Who．．．
14.nostalgia
15.LOVE ～Destiny～
This album contains music from Utada Hikaru, BoA, and a few other artists. If you are a fan of the artists and have listened to them a lot you should recognize the melodies. Even if you haven't, this is a wonderful album to check out.
Melkoret
11-08-2009, 06:19 AM
Hey arthierr, I PM'd you a while back I think, but you never replied, I hope you didnt miss it.
---
On a side note. I think it would be really cool if people made a small (or large) compilation of some of their favourite tracks, and we shared them via email (and here of course).
Just an idea I like, because I rarely work up the courage to download most of the stuff presented unless it comes highly recomended.
---
On a side note. I think it would be really cool if people made a small (or large) compilation of some of their favourite tracks, and we shared them via email (and here of course).
Just an idea I like, because I rarely work up the courage to download most of the stuff presented unless it comes highly recomended.
syte1986
11-08-2009, 06:57 AM
There is certainly a great fan base for Goldsmith on this thread, and I just don't see it myself. Not that he didn't do some awesome work over his career. Who can forget the unforgettable seafaring score of Star Trek the Motion Picture, the 13th Warrior, First Knight, The Mummy, The Secret of NIMH just to name a few.
He also had, what I considered a lot of duds too. Especially later in his career. Most of his later Star Trek movie scores were mediocre at best.
Mulan, however, is one of my all time favorites, and to make up for my blasphemous attitude, here is a quite rare Complete Mulan score, no sfx, 1:18:59, quality in the 250 kbps range.
<a href="http://s629.photobucket.com/albums/uu16/10Arrows/?action=view¤t=Mulancompletescore.jpg" target="_blank">
http://rapidshare.com/files/251944163/JG-MCS.rar
Mulan Complete Score Track Listing.
01 Overture.mp3
02 Main Title.mp3
03 Attack At The Wall _ The Emperor.mp3
04 Prayers _ Grandma's Cricket.mp3
05 The Matchmaker.mp3
06 Homecoming.mp3
07 Proclamation From The Emperor.mp3
08 The Transformation _ Mulan Leaves (Short Hair).mp3
09 Awakening The Great Stone Dragon.mp3
10 Master Plan.mp3
11 Shan-Yu.mp3
12 A Man's World.mp3
13 Ping Introduces.mp3
14 A New Day.mp3
15 The Arrow.mp3
16 The Doll.mp3
17 Bogus Letter.mp3
18 The Delivery.mp3
19 Burnt Village _ The General Is Dead.mp3
20 Arrow Attack.mp3
21 The Huns Ride.mp3
22 Avalanche.mp3
23 The Masquerade Is Over.mp3
24 Confessions _ Surviving Huns.mp3
25 Victory Celebration, The Imperial Palace (Alternate).mp3
26 Fireworks.mp3
27 The Huns Intrude.mp3
28 Concubines _ Saving The Emperor.mp3
29 Mushu To The Rescue.mp3
30 Honoring Mulan.mp3
31 The Sword, Reunion.mp3
32 End Credits.mp3
33 Reprise.mp3
34 The Emperor _ Prayers (Alternate).mp3
35 Mulan's Transformation (Alternate).mp3
36 Confessions _ To The Imperial City (Alternate).mp3
Thank you so much for uploading this Soundtrack. I couldn't tell you how hard it is to find this.
He also had, what I considered a lot of duds too. Especially later in his career. Most of his later Star Trek movie scores were mediocre at best.
Mulan, however, is one of my all time favorites, and to make up for my blasphemous attitude, here is a quite rare Complete Mulan score, no sfx, 1:18:59, quality in the 250 kbps range.
<a href="http://s629.photobucket.com/albums/uu16/10Arrows/?action=view¤t=Mulancompletescore.jpg" target="_blank">
http://rapidshare.com/files/251944163/JG-MCS.rar
Mulan Complete Score Track Listing.
01 Overture.mp3
02 Main Title.mp3
03 Attack At The Wall _ The Emperor.mp3
04 Prayers _ Grandma's Cricket.mp3
05 The Matchmaker.mp3
06 Homecoming.mp3
07 Proclamation From The Emperor.mp3
08 The Transformation _ Mulan Leaves (Short Hair).mp3
09 Awakening The Great Stone Dragon.mp3
10 Master Plan.mp3
11 Shan-Yu.mp3
12 A Man's World.mp3
13 Ping Introduces.mp3
14 A New Day.mp3
15 The Arrow.mp3
16 The Doll.mp3
17 Bogus Letter.mp3
18 The Delivery.mp3
19 Burnt Village _ The General Is Dead.mp3
20 Arrow Attack.mp3
21 The Huns Ride.mp3
22 Avalanche.mp3
23 The Masquerade Is Over.mp3
24 Confessions _ Surviving Huns.mp3
25 Victory Celebration, The Imperial Palace (Alternate).mp3
26 Fireworks.mp3
27 The Huns Intrude.mp3
28 Concubines _ Saving The Emperor.mp3
29 Mushu To The Rescue.mp3
30 Honoring Mulan.mp3
31 The Sword, Reunion.mp3
32 End Credits.mp3
33 Reprise.mp3
34 The Emperor _ Prayers (Alternate).mp3
35 Mulan's Transformation (Alternate).mp3
36 Confessions _ To The Imperial City (Alternate).mp3
Thank you so much for uploading this Soundtrack. I couldn't tell you how hard it is to find this.
herbaciak
11-08-2009, 01:19 PM
Harmony ~ Jpop Meets Classics - such things only in Japan:D. I could understand few arranges, but 4 CD's of J-pop performed by an orchestra? LOL, I have to check this one ASAP (don't even know why I have to, I'm far from being J-Pop fan, so I guess I'm just curious). Thanks Sirusjr:).
Sirusjr
11-08-2009, 03:41 PM
I actually have one more CD of that to post as well if people like this one :)
PP245171
11-08-2009, 03:52 PM
Finding this thread is the best thing that happened to me in a long time� Many thanks for all the efforts you do for sharing your collections, BIG thanks to everyone that posted here.
A fan from Panama�
PS. My eternal gratitude (and hate) to Sirusjr, This Harmony ~ Jpop Meets Classics (for a slow life) album is beyond fantastic. After listening to the albums now I realize why there is no such thing as complete happiness, I just found that there is another collection of Harmony ~ Jpop Meets Classics, so excuse me if I hate you until I find the missing Albums�
A fan from Panama�
PS. My eternal gratitude (and hate) to Sirusjr, This Harmony ~ Jpop Meets Classics (for a slow life) album is beyond fantastic. After listening to the albums now I realize why there is no such thing as complete happiness, I just found that there is another collection of Harmony ~ Jpop Meets Classics, so excuse me if I hate you until I find the missing Albums�
Sirusjr
11-08-2009, 04:33 PM
Please share if you find more :)
arthierr
11-08-2009, 10:08 PM
Cool! I just had the time to grab the latest contributions. THANK YOU VERY MUCH, guys. Now let's go for a delightful evening of good orchestral music...
------------------------------------------------------------
MARIO & SONIC
AT THE OLYMPIC WINTER GAMES
Orchestral Pack
MP3-V0
http://rapidshare.com/files/302527459/M_S_Orchestral.rar
A lowbrow contribution from me tonight ;) I've put the best orchestral-only tracks together into a short suite for you good people, freshly encoded from the game's adx files. Lightness and pageantry is what it's all about, and it's pretty damn catchy too. If anyone has any composer info for this I'd be grateful for it. I assume it was the same person(s) responsible for the first Olympics game? For now I've just tagged Sega as the artist.
Very nice, if you haven't posted this, I certainly would have missed the fact that there's some orchestral music in this game. Great initiative.
At any rate, I hope you enjoy David Maslanka's Symphony no. 8.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
Great stuff, for your 1st contribution here, you certainly did it with taste. Welcome here, and I hope you'll share with us more of your favorite orchestral music, even if you consider it not really original or ultra-rare, the only requirement is to post something you really enjoy.
Harmony ~ Jpop Meets Classics
|Orchestral|Melodic|Classical|
|Performed by the Warsaw National Philharmonic Orchestra|
|MP3|192kbps|4CD|
http://anonym.to/?http://www.megaupload.com/?d=36ESHLO0
This album contains music from Utada Hikaru, BoA, and a few other artists. If you are a fan of the artists and have listened to them a lot you should recognize the melodies. Even if you haven't, this is a wonderful album to check out.
Another huge contribution! And since it's performed by the Warsaw, it looks REALLY, REALLY good. Bravo, Sir!
Also I'd like to say that I quite appreciate the recent posts with ecstatic comments about this thread. It's good to have some positive feed-back by people visiting it and downloading stuff from here. So if you appreciate this thread, please express yourself!
------------------------------------------------------------
MARIO & SONIC
AT THE OLYMPIC WINTER GAMES
Orchestral Pack
MP3-V0
http://rapidshare.com/files/302527459/M_S_Orchestral.rar
A lowbrow contribution from me tonight ;) I've put the best orchestral-only tracks together into a short suite for you good people, freshly encoded from the game's adx files. Lightness and pageantry is what it's all about, and it's pretty damn catchy too. If anyone has any composer info for this I'd be grateful for it. I assume it was the same person(s) responsible for the first Olympics game? For now I've just tagged Sega as the artist.
Very nice, if you haven't posted this, I certainly would have missed the fact that there's some orchestral music in this game. Great initiative.
At any rate, I hope you enjoy David Maslanka's Symphony no. 8.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
Great stuff, for your 1st contribution here, you certainly did it with taste. Welcome here, and I hope you'll share with us more of your favorite orchestral music, even if you consider it not really original or ultra-rare, the only requirement is to post something you really enjoy.
Harmony ~ Jpop Meets Classics
|Orchestral|Melodic|Classical|
|Performed by the Warsaw National Philharmonic Orchestra|
|MP3|192kbps|4CD|
http://anonym.to/?http://www.megaupload.com/?d=36ESHLO0
This album contains music from Utada Hikaru, BoA, and a few other artists. If you are a fan of the artists and have listened to them a lot you should recognize the melodies. Even if you haven't, this is a wonderful album to check out.
Another huge contribution! And since it's performed by the Warsaw, it looks REALLY, REALLY good. Bravo, Sir!
Also I'd like to say that I quite appreciate the recent posts with ecstatic comments about this thread. It's good to have some positive feed-back by people visiting it and downloading stuff from here. So if you appreciate this thread, please express yourself!
arthierr
11-08-2009, 11:44 PM
Here's something I'd like to re-post, as it's been posted a long time ago and some people may have missed it. Another score by the great Kousuke YAMASHITA! Since we talked about him recently, it's a good idea to post and re-post some of his scores. More scores by him coming. :)
This one is very good, a grand space opera score, with some quite epic moments. YAMASHITA imitates a bit Mitsuda's style for Xenosaga II, but manages to create something original nonetheless. I especially recommend the tracks "Durandal" (powerful and upbeat), "Utsukushiki Foundation" (grandiose and inspired), "Kagayakeru Kibou" (very upbeat).
Strangely enough, the recording really lacks some reverb, this had to be recorded in a tiny hall. But you can easily correct it with a *good* reverb plugin.
Xenosaga THE ANIMATION OST
Composed By: Kousuke YAMASHITA
|MP3|VBR|120.65MB|
http://forums.ffshrine.org/showthread.php?p=1082002
01 - .Shinpi.Naru.Sekai [3.75MB]
02 - .Xenosaga.Main.Title [2.73MB]
03 - .Sentou.Kaishi [2.71MB]
04 - .Shion.Uzuki [4.87MB]
05 - .Sakusen.Kaigi [3.59MB]
06 - .Sentou.No.Yochou [2.76MB]
07 - .Realiane.No.Kanashimi [2.95MB]
08 - .Kidou.Suru.KOSMOS [3.53MB]
09 - .Kouhai.Shita.Machi [3.05MB]
10 - .Gekisen [3.26MB]
11 - .Sei.to.Shi.to [3.27MB]
12 - .Semarikuru.Gnosis [3.43MB]
13 - .Durandal [3.93MB]
14 - .KOSMOS.No.Omoi [3.21MB]
15 - .Utsukushiki.Foundation [2.99MB]
16 - .Kyuusoku.No.Toki [3.69MB]
17 - .Zeetai.Zetsumei [1.85MB]
18 - .Kokoro.No.Zaisho [2.59MB]
19 - .Kinkyuu.Shutsudou [1.66MB]
20 - .Himetaru.Ishi [2.85MB]
21 - .Tadaima.Kyuukachuu [3.72MB]
22 - .Kyoudai.Senkan.No.Sentou [4.14MB]
23 - .Yuujou [2.44MB]
24 - .Sennyuu [2.81MB]
25 - .Shukumei [4.39MB]
26 - .Shi [3.36MB]
27 - .Requiem [2.79MB]
28 - .Nazomeku.Zohar [4.8MB]
29 - .Hate.Shinaki.Sentou [5MB]
30 - .Nephilim.No.Utagoe [3.36MB]
31 - .Kyoui.Naru.Chikara [3.19MB]
32 - .Kagayakeru.Kibou [2.47MB]
33 - .Nephilim [5.56MB]
34 - .Aoi.Wakusei..Owarinaki.Tabi [5.51MB]
35 - .In.this.Serenity [4.81MB]
This one is very good, a grand space opera score, with some quite epic moments. YAMASHITA imitates a bit Mitsuda's style for Xenosaga II, but manages to create something original nonetheless. I especially recommend the tracks "Durandal" (powerful and upbeat), "Utsukushiki Foundation" (grandiose and inspired), "Kagayakeru Kibou" (very upbeat).
Strangely enough, the recording really lacks some reverb, this had to be recorded in a tiny hall. But you can easily correct it with a *good* reverb plugin.
Xenosaga THE ANIMATION OST
Composed By: Kousuke YAMASHITA
|MP3|VBR|120.65MB|
http://forums.ffshrine.org/showthread.php?p=1082002
01 - .Shinpi.Naru.Sekai [3.75MB]
02 - .Xenosaga.Main.Title [2.73MB]
03 - .Sentou.Kaishi [2.71MB]
04 - .Shion.Uzuki [4.87MB]
05 - .Sakusen.Kaigi [3.59MB]
06 - .Sentou.No.Yochou [2.76MB]
07 - .Realiane.No.Kanashimi [2.95MB]
08 - .Kidou.Suru.KOSMOS [3.53MB]
09 - .Kouhai.Shita.Machi [3.05MB]
10 - .Gekisen [3.26MB]
11 - .Sei.to.Shi.to [3.27MB]
12 - .Semarikuru.Gnosis [3.43MB]
13 - .Durandal [3.93MB]
14 - .KOSMOS.No.Omoi [3.21MB]
15 - .Utsukushiki.Foundation [2.99MB]
16 - .Kyuusoku.No.Toki [3.69MB]
17 - .Zeetai.Zetsumei [1.85MB]
18 - .Kokoro.No.Zaisho [2.59MB]
19 - .Kinkyuu.Shutsudou [1.66MB]
20 - .Himetaru.Ishi [2.85MB]
21 - .Tadaima.Kyuukachuu [3.72MB]
22 - .Kyoudai.Senkan.No.Sentou [4.14MB]
23 - .Yuujou [2.44MB]
24 - .Sennyuu [2.81MB]
25 - .Shukumei [4.39MB]
26 - .Shi [3.36MB]
27 - .Requiem [2.79MB]
28 - .Nazomeku.Zohar [4.8MB]
29 - .Hate.Shinaki.Sentou [5MB]
30 - .Nephilim.No.Utagoe [3.36MB]
31 - .Kyoui.Naru.Chikara [3.19MB]
32 - .Kagayakeru.Kibou [2.47MB]
33 - .Nephilim [5.56MB]
34 - .Aoi.Wakusei..Owarinaki.Tabi [5.51MB]
35 - .In.this.Serenity [4.81MB]
Sirusjr
11-09-2009, 01:16 AM
Bayonetta Original Soundtrack
|MP3|VBR V-0|500MB|5cd|
http://anonym.to/?http://rapidshare.com/files/304244275/Bynttast.part1.rar
http://anonym.to/?http://rapidshare.com/files/304255409/Bynttast.part2.rar
http://anonym.to/?http://rapidshare.com/files/304264448/Bynttast.part3.rar
PSW: smile
Flac Links
PSW: smile
If you heard the shorter promo that was released earlier, you may have noticed that there were a few tracks with female vocals that were sort of jazzy. I am in the middle of CD3 right now of Bayonetta and so far there are not a lot of other Jazzy tracks. Surprisingly there are a good number of orchestral tracks, most either sounding highly religious or highly foreboding. Most interesting are the tracks by Rei Kondoh who has composed some wonderful orchestral tracks for this game. I highly recommend this soundtrack :)
I was debating whether I should post this here and ultimately decided that it has at least as many orchestral tracks as many anime soundtracks. There are sufficiently enough marvelous orchestral tracks and great other types of tracks to be a worthwhile listen.
Two sample tracks
http://anonym.to/?http://www.megaupload.com/?d=YGO3SPC0
This is by far my favorite official game soundtrack of the year. Fantastic listen :)
|MP3|VBR V-0|500MB|5cd|
http://anonym.to/?http://rapidshare.com/files/304244275/Bynttast.part1.rar
http://anonym.to/?http://rapidshare.com/files/304255409/Bynttast.part2.rar
http://anonym.to/?http://rapidshare.com/files/304264448/Bynttast.part3.rar
PSW: smile
Flac Links
PSW: smile
If you heard the shorter promo that was released earlier, you may have noticed that there were a few tracks with female vocals that were sort of jazzy. I am in the middle of CD3 right now of Bayonetta and so far there are not a lot of other Jazzy tracks. Surprisingly there are a good number of orchestral tracks, most either sounding highly religious or highly foreboding. Most interesting are the tracks by Rei Kondoh who has composed some wonderful orchestral tracks for this game. I highly recommend this soundtrack :)
I was debating whether I should post this here and ultimately decided that it has at least as many orchestral tracks as many anime soundtracks. There are sufficiently enough marvelous orchestral tracks and great other types of tracks to be a worthwhile listen.
Two sample tracks
http://anonym.to/?http://www.megaupload.com/?d=YGO3SPC0
This is by far my favorite official game soundtrack of the year. Fantastic listen :)
jakob
11-09-2009, 03:34 AM
Weird! I've never heard of that game but that totally looks like a skanky version of quistis from FF8! Ha!
Great stuff, for your 1st contribution here, you certainly did it with taste. Welcome here, and I hope you'll share with us more of your favorite orchestral music, even if you consider it not really original or ultra-rare, the only requirement is to post something you really enjoy.
Thanks! I'm glad you enjoy it and thanks for the great thread!
Great stuff, for your 1st contribution here, you certainly did it with taste. Welcome here, and I hope you'll share with us more of your favorite orchestral music, even if you consider it not really original or ultra-rare, the only requirement is to post something you really enjoy.
Thanks! I'm glad you enjoy it and thanks for the great thread!
Lens of Truth
11-09-2009, 03:36 AM
THE ADVENTURES OF PRINCE ACHMED (1926) - WOLFGANG ZELLER
Symphonic Fantasia
MP3-V0
http://rapidshare.com/files/304275259/Prince_Achmed.mp3
The Adventures of Prince Achmed is reckoned by many to be the earliest extant animated feature. It also happens to be, in my view, without equal in beauty and delicacy. Lotte Reineger was surely one animation’s greatest geniuses, a masterful film auteur avant la lettre. The exquisite filigree detailing of her cut-outs and the magical story telling and shadow play are a joy to behold. You can see the huge influence it had on the stylizations of later Arabian Nights tales, like Disney’s Aladdin and The Thief and the Cobbler - but Achmed is in a league of its own.
Reineger’s few collaborators included her husband, an art historian, as producer (god, they were the days!), filmmaker Walter Ruttmann, responsible for many of the shimmering backgrounds and abstract effects, illustrator Edmund Dulac, who provided the storybook-like titles, and the then 29 year-old composer Wolfgang Zeller. This was Zeller’s first composition for screen and he went on to write many more symphonically inflected scores, refining his technique as he went (-another favourite of mine, sadly unavailable in any form, is Zeller’s chilling music for Carl Dreyer’s enigmatic ‘Vampyr’). The influences are, as you’d expect, primarily Borodin and Rimsky Korsakov, but I can also hear the odd bit of Brucknerian earth-shaking brass and even moments that look forward to Korngold and Williams.
Unfortunately, the recording as presented on the BFI dvd features some distracting distortion in the middle part of the score; my attempt at an edit has been somewhat compromised as a result, but I’ve mostly avoided the afflicted passages. I have no idea why this happens - silent film releases in particular seem to receive poor soundtrack transfers by otherwise reliable companies, even when a brand new recording is to hand. Having said that, I think you’ll find the quality is on the whole quite satisfactory :)
The most recent musical accompaniment was written in 2008 by British composer Geoff Smith for hammered dulcimers and voice.
“I believe more in the truth of fairytales than the truth in the newspapers” - Lotte Reineger
Symphonic Fantasia
MP3-V0
http://rapidshare.com/files/304275259/Prince_Achmed.mp3
The Adventures of Prince Achmed is reckoned by many to be the earliest extant animated feature. It also happens to be, in my view, without equal in beauty and delicacy. Lotte Reineger was surely one animation’s greatest geniuses, a masterful film auteur avant la lettre. The exquisite filigree detailing of her cut-outs and the magical story telling and shadow play are a joy to behold. You can see the huge influence it had on the stylizations of later Arabian Nights tales, like Disney’s Aladdin and The Thief and the Cobbler - but Achmed is in a league of its own.
Reineger’s few collaborators included her husband, an art historian, as producer (god, they were the days!), filmmaker Walter Ruttmann, responsible for many of the shimmering backgrounds and abstract effects, illustrator Edmund Dulac, who provided the storybook-like titles, and the then 29 year-old composer Wolfgang Zeller. This was Zeller’s first composition for screen and he went on to write many more symphonically inflected scores, refining his technique as he went (-another favourite of mine, sadly unavailable in any form, is Zeller’s chilling music for Carl Dreyer’s enigmatic ‘Vampyr’). The influences are, as you’d expect, primarily Borodin and Rimsky Korsakov, but I can also hear the odd bit of Brucknerian earth-shaking brass and even moments that look forward to Korngold and Williams.
Unfortunately, the recording as presented on the BFI dvd features some distracting distortion in the middle part of the score; my attempt at an edit has been somewhat compromised as a result, but I’ve mostly avoided the afflicted passages. I have no idea why this happens - silent film releases in particular seem to receive poor soundtrack transfers by otherwise reliable companies, even when a brand new recording is to hand. Having said that, I think you’ll find the quality is on the whole quite satisfactory :)
The most recent musical accompaniment was written in 2008 by British composer Geoff Smith for hammered dulcimers and voice.
“I believe more in the truth of fairytales than the truth in the newspapers” - Lotte Reineger
jakob
11-09-2009, 05:35 AM
Wow, it looks like I should look into silent film scores! That was great!! I don't think it was as corrupt as you made it sound... There is definitely a lot of Rimsky-Korsakov screaming through on that one, and I agree with your bruckner assessment ( Agee minutes before the end near the false ending?) About 40 seconds in from the beginning totally reminds me of hindemith (although I see this was before a lot of his bigger orchestral stuff) although that only lasts for about 15 seconds. Anyway, I loved it. Thanks for that, LensofTruth!
Sirusjr
11-09-2009, 06:50 AM
I don't normally post 4 osts at once but this is a special occasion. Nipponsei just released these four wonderful soundtracks tonight and I had to get them up ASAP!
Kotaro Nakagawa - Zettai Karen Children OST 2
|MP3|320kbps|170MB|
|Orchestral|Upbeat|Energetic|Adventurous|
|Originally Uploaded by Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304360616/ZttKrnChldrnST2.rar
PSW: smile
This is another great soundtrack from my favorite Kotaro Nakagawa. It has a great energy about it and is just a lot of fun. It is the type of soundtrack that makes you smile without more.
Takefumi Haketa - Aoi Hana Original Soundtrack - Sweet
|MP3|320kbps|165MB|
|Originally released by Nipponsei|
|Melodic|Relaxing|Mellow|
http://anonym.to/?http://rapidshare.com/files/304349302/AoiHnStSwt.rar
PSW: smile
I knew absolutely nothing about this except I loved the opening and ending songs to the anime because they were so relaxing. This soundtrack is similarly relaxing and highly recommended. It is the perfect mellow type of soundtrack to listen to while staring at your back porch on a beautiful sunny day. Fantastic listen!
EDIT: After more in-depth listening, there is a significant amount of baroque in some of the songs of this one. Quite relaxing Baroque at that :D Simply wonderful.
Hitomi Kuroishi - Shangri-La Original Soundtrack 2
|MP3|320kbps|260MB|
|Originally Downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304337513/Shngr-L-ST2.part1.rar
http://anonym.to/?http://rapidshare.com/files/304342070/Shngr-L-ST2.part2.rar
PSW: smile
By now most of you know the first Shangri-La soundtrack. If not, you should check out both because Hitomi Kuroishi is the next awesome anime composer out there. Her style is highly reminiscent of Kotaro Nakagawa.
Kanagawa Philharmonic Orchestra - Tytania Original Soundtrack
|MP3|320kbps|108MB|17Tracks|
|Orchestral|Classical|Epic|Regal|Majestic|
|Originally downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304353849/Tytania.rar
PSW: smile
Some of you may remember when Symphonia Tytania and the earlier Opening single to this wonderful anime were posted here. I never listened to the former because the version posted wasn't very good quality. This is a much better quality version of Symphonia Tytania. This one sounds wonderful and is a majestic soundtrack that all should check out. It is a fantastic epic science-fiction soundtrack that will surely satisfy all.
Kotaro Nakagawa - Zettai Karen Children OST 2
|MP3|320kbps|170MB|
|Orchestral|Upbeat|Energetic|Adventurous|
|Originally Uploaded by Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304360616/ZttKrnChldrnST2.rar
PSW: smile
This is another great soundtrack from my favorite Kotaro Nakagawa. It has a great energy about it and is just a lot of fun. It is the type of soundtrack that makes you smile without more.
Takefumi Haketa - Aoi Hana Original Soundtrack - Sweet
|MP3|320kbps|165MB|
|Originally released by Nipponsei|
|Melodic|Relaxing|Mellow|
http://anonym.to/?http://rapidshare.com/files/304349302/AoiHnStSwt.rar
PSW: smile
I knew absolutely nothing about this except I loved the opening and ending songs to the anime because they were so relaxing. This soundtrack is similarly relaxing and highly recommended. It is the perfect mellow type of soundtrack to listen to while staring at your back porch on a beautiful sunny day. Fantastic listen!
EDIT: After more in-depth listening, there is a significant amount of baroque in some of the songs of this one. Quite relaxing Baroque at that :D Simply wonderful.
Hitomi Kuroishi - Shangri-La Original Soundtrack 2
|MP3|320kbps|260MB|
|Originally Downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304337513/Shngr-L-ST2.part1.rar
http://anonym.to/?http://rapidshare.com/files/304342070/Shngr-L-ST2.part2.rar
PSW: smile
By now most of you know the first Shangri-La soundtrack. If not, you should check out both because Hitomi Kuroishi is the next awesome anime composer out there. Her style is highly reminiscent of Kotaro Nakagawa.
Kanagawa Philharmonic Orchestra - Tytania Original Soundtrack
|MP3|320kbps|108MB|17Tracks|
|Orchestral|Classical|Epic|Regal|Majestic|
|Originally downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304353849/Tytania.rar
PSW: smile
Some of you may remember when Symphonia Tytania and the earlier Opening single to this wonderful anime were posted here. I never listened to the former because the version posted wasn't very good quality. This is a much better quality version of Symphonia Tytania. This one sounds wonderful and is a majestic soundtrack that all should check out. It is a fantastic epic science-fiction soundtrack that will surely satisfy all.
Bubo
11-09-2009, 11:50 AM
Anyone got Superman The Movie or Flight of the Intruder? I've seen Superman The Movie posted elsewhere on this forum, but unfortunately the link's way out of date.
Lens of Truth
11-09-2009, 03:12 PM
Sirusjr, thanks for all the great posts! Where to begin?! :D
Wow, it looks like I should look into silent film scores! That was great!! I don't think it was as corrupt as you made it sound...
Glad you liked it! What I meant to say regarding the quality was that I was restricted in my choices making the suite. One of my favourite parts has a horrible sounding digital distortion of some kind, so it had to be left out :( The nature of the music is such that this has a knock-on effect on how it all goes together. Still, it came out pretty well, I'm probably just being fussy :P
Here's a short sample of what I'm talking about, in case any of the audio wizzes out there know of a fix:
http://rapidshare.com/files/304506868/AchmedClip.mp3
before the end near the false ending?
You know your Bruckner sir! Good man. I look forward to checking out the Maslanka symphony you posted.
Wow, it looks like I should look into silent film scores! That was great!! I don't think it was as corrupt as you made it sound...
Glad you liked it! What I meant to say regarding the quality was that I was restricted in my choices making the suite. One of my favourite parts has a horrible sounding digital distortion of some kind, so it had to be left out :( The nature of the music is such that this has a knock-on effect on how it all goes together. Still, it came out pretty well, I'm probably just being fussy :P
Here's a short sample of what I'm talking about, in case any of the audio wizzes out there know of a fix:
http://rapidshare.com/files/304506868/AchmedClip.mp3
before the end near the false ending?
You know your Bruckner sir! Good man. I look forward to checking out the Maslanka symphony you posted.
JRL3001
11-09-2009, 06:38 PM
Kanagawa Philharmonic Orchestra - Tytania Original Soundtrack
|MP3|320kbps|108MB|17Tracks|
|Orchestral|Classical|Epic|Regal|Majestic|
|Originally downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304353849/Tytania.rar
PSW: smile
[/center]
O.o it changed from last night, no Tytania OST 2?
Though I am more than happy to snag a higher quality version of this soundtrack :)
The Shangri-La soundtrack is fantastic!. Still waiting for the other two to finish, but from your notes it looks like they will be great too :)
Thanks for sharing them, sirusjr
|MP3|320kbps|108MB|17Tracks|
|Orchestral|Classical|Epic|Regal|Majestic|
|Originally downloaded from Nipponsei|
http://anonym.to/?http://rapidshare.com/files/304353849/Tytania.rar
PSW: smile
[/center]
O.o it changed from last night, no Tytania OST 2?
Though I am more than happy to snag a higher quality version of this soundtrack :)
The Shangri-La soundtrack is fantastic!. Still waiting for the other two to finish, but from your notes it looks like they will be great too :)
Thanks for sharing them, sirusjr
Sirusjr
11-09-2009, 07:33 PM
Yeah Haha, lens corrected my post. I didn't bother reading the cover and noticing that the original one suggested it was OST 2. If only...
JRL3001
11-09-2009, 07:40 PM
It happens :P But yeah a second soundtrack release would be fantastic!
Sirusjr
11-09-2009, 07:42 PM
I'm actually surprised how many people looked at the cover art rather than my heading to determine what it was. I mean if I was really posting OST 2 I would have included a 2 at the end of my post title. Plus, because I mentioned nipponsei release you could always go and see what they just released and find out it wasn't number 2. I look forward to some comments on the other soundtracks I just posted as well :)
10Arrows
11-09-2009, 07:47 PM
Thank you so much for uploading this Soundtrack. I couldn't tell you how hard it is to find this.
My pleasure. It is a rare one, indeed, and just spectacular. Finding this as a hard copy was one of those wonderful score lovers' moments we all live for!
p.s. Arthierr, from the number of posts these past few months, shouldn't we rename this thread the Big Orchestral Japanese Anime Thread????? ;)
My pleasure. It is a rare one, indeed, and just spectacular. Finding this as a hard copy was one of those wonderful score lovers' moments we all live for!
p.s. Arthierr, from the number of posts these past few months, shouldn't we rename this thread the Big Orchestral Japanese Anime Thread????? ;)
Sirusjr
11-09-2009, 08:03 PM
Hehe as much as that seems like a good name for the thread, i think (1) its best to leave it named the same for recognition purposes and (2) that name may limit people to only posting anime soundtracks. It just so happens that anime soundtracks are frequently of the quality that this thread is made for.
JRL3001
11-09-2009, 08:51 PM
I'm actually surprised how many people looked at the cover art rather than my heading to determine what it was. I mean if I was really posting OST 2 I would have included a 2 at the end of my post title. Plus, because I mentioned nipponsei release you could always go and see what they just released and find out it wasn't number 2. I look forward to some comments on the other soundtracks I just posted as well :)
Yeah well, I saw picture and went ''Oooohh!" and clicked download LOL! which I would have anyways, this one is higher quality that the copy of the soundtrack I already had :P And it was like...er....1am when I downloaded it as well lol
Listened to Shangri-La, amazing soundtrack. like OST1, #2 is fantastic! I really want to hear more music by this composer! Still waiting on the other 2 to finish, rapidshare is running SLOW for me this morning
Yeah well, I saw picture and went ''Oooohh!" and clicked download LOL! which I would have anyways, this one is higher quality that the copy of the soundtrack I already had :P And it was like...er....1am when I downloaded it as well lol
Listened to Shangri-La, amazing soundtrack. like OST1, #2 is fantastic! I really want to hear more music by this composer! Still waiting on the other 2 to finish, rapidshare is running SLOW for me this morning
Sirusjr
11-09-2009, 09:02 PM
Yeah thats why I wish Nipponsei would have included covers in these. Of the 4 I grabbed yesterday, only the Shangri-La OST 2 had any sort of cover included. Thankfully I found what I believe to be an accurate cover for the others (although obviously not Tytania at least at first).
jakob
11-10-2009, 04:38 AM
p.s. Arthierr, from the number of posts these past few months, shouldn't we rename this thread the Big Orchestral Japanese Anime Thread????? ;)
I think it's still a good name. It lets people know that we are looking for any good orchestral music, whether in Anime or not, right? I don't care what you call it, I love this thread.
I think it's still a good name. It lets people know that we are looking for any good orchestral music, whether in Anime or not, right? I don't care what you call it, I love this thread.
herbaciak
11-10-2009, 12:04 PM
Recently I dicovered something very curious and I'm still not sure how I feel about that curiosity.
Under youtube link (that I posted below;)) you can find full concert of Jeff Mills - techno DJ. Yes, techno DJ (well, at least wikipedia says that;)). So U probably thinking now: what the hell is this herbaciak guy posting here?! Is he insane? Well, yes, partially for sure, but...
I had no idea who the hell was Mills till few days ago, I discovered this concert on one of portals 'bout "new music" - you know, electronica, post rock and other stuff - cause I sometimes like to listen to something of those genres. So, back to the essence, I post this here bacuse it is... well, orchestral. Yes, it's orchestral arrange of techno music. And to be honest, it's impressive and quite original orchestral work (at least for me). There are tracks big and monumental (incredible 4art, reminds me of Davis' Matrix) and crazy, trippy, WTF stuff (Keatons Theme, final Sonic Destroyer for example). So it's overall great, right? Well, no...
There is always frickin "BUT". And the "but" is quite annoying here, 'cause this stunning orchestral work goes with... the worst, most trivial electronic beat I've heard since some time. Sometimes it blends ok (but only ok) with the orchestral performance, but sometimes it just annoys as hell. But also there is another "but" - not all of the tracks here incorporates this crappy beat. So, if you are interested in refreshing, sometimes ass-kicking but flawed experiment, than give it a try. And now I think, after what I wrote, that I like it more than I thought at first time;).
Jeff Mills & Montpelier Philharmonic Orchestra - Blue Potential
http://www.youtube.com/watch?v=3wPbNf1jhzM
Under youtube link (that I posted below;)) you can find full concert of Jeff Mills - techno DJ. Yes, techno DJ (well, at least wikipedia says that;)). So U probably thinking now: what the hell is this herbaciak guy posting here?! Is he insane? Well, yes, partially for sure, but...
I had no idea who the hell was Mills till few days ago, I discovered this concert on one of portals 'bout "new music" - you know, electronica, post rock and other stuff - cause I sometimes like to listen to something of those genres. So, back to the essence, I post this here bacuse it is... well, orchestral. Yes, it's orchestral arrange of techno music. And to be honest, it's impressive and quite original orchestral work (at least for me). There are tracks big and monumental (incredible 4art, reminds me of Davis' Matrix) and crazy, trippy, WTF stuff (Keatons Theme, final Sonic Destroyer for example). So it's overall great, right? Well, no...
There is always frickin "BUT". And the "but" is quite annoying here, 'cause this stunning orchestral work goes with... the worst, most trivial electronic beat I've heard since some time. Sometimes it blends ok (but only ok) with the orchestral performance, but sometimes it just annoys as hell. But also there is another "but" - not all of the tracks here incorporates this crappy beat. So, if you are interested in refreshing, sometimes ass-kicking but flawed experiment, than give it a try. And now I think, after what I wrote, that I like it more than I thought at first time;).
Jeff Mills & Montpelier Philharmonic Orchestra - Blue Potential
http://www.youtube.com/watch?v=3wPbNf1jhzM
arthierr
11-10-2009, 03:39 PM
Haha, as this seemed crazy, I listened to 5 minutes of it for now (I'm on lunch pause), and the opening was great, it even sometimes sounded like James Horner at his best. Then the following piece is SOOOOO repetitive, but hey, it's techno music...
Excellent find, will try the full concert tonight.
Lens and Sirusjr: Great posts guys, tank you, will check ASAP.
p.s. Arthierr, from the number of posts these past few months, shouldn't we rename this thread the Big Orchestral Japanese Anime Thread????? ;)
One of the reasons is this:
As long as we don't post music from these labels, it's pretty safe in here. As I said before, this thread contains mostly out-of-print movie scores, or game scores, or anime scores, or compilations: nothing really threatening I guess.
But another reason is of course that anime music nowadays contains an incredible amount of quality orchestral music. It just happens to be this way. If there was some wonderful orchestral music in, say swedish morning cartoons, then a lot of swedish cartoon scores would be posted here.
Excellent find, will try the full concert tonight.
Lens and Sirusjr: Great posts guys, tank you, will check ASAP.
p.s. Arthierr, from the number of posts these past few months, shouldn't we rename this thread the Big Orchestral Japanese Anime Thread????? ;)
One of the reasons is this:
As long as we don't post music from these labels, it's pretty safe in here. As I said before, this thread contains mostly out-of-print movie scores, or game scores, or anime scores, or compilations: nothing really threatening I guess.
But another reason is of course that anime music nowadays contains an incredible amount of quality orchestral music. It just happens to be this way. If there was some wonderful orchestral music in, say swedish morning cartoons, then a lot of swedish cartoon scores would be posted here.
joypad
11-10-2009, 09:22 PM
upped today :)
Rygar: The Legendary Journey [aka Symphonic Poem Argos No Senshi]
Music from the PS2 game by Tecmo.
Epic orchestra & Gladiator / Colosseum Romanticism
Flac|Booklet Scans|M3u|Cue
260mb
Thread 71414
arthierr
11-10-2009, 11:20 PM
Thanks for the re-post!
In a similar vein, I also noticed that this RARE little orchestral gem has been posted recently. I recommend it, since I really enjoyed it some years ago. The music is very tuneful, there are some really good, adventurous themes. Yes, the orchestra is very small, and the compositions are rather simple, but eventually this score is pleasing and catchy. Definitely a good listen.
Dark Wizard SEGA CD Soundtrack
[WAV/MP3/VBR/FLAC]
Thread 71415
In a similar vein, I also noticed that this RARE little orchestral gem has been posted recently. I recommend it, since I really enjoyed it some years ago. The music is very tuneful, there are some really good, adventurous themes. Yes, the orchestra is very small, and the compositions are rather simple, but eventually this score is pleasing and catchy. Definitely a good listen.
Dark Wizard SEGA CD Soundtrack
[WAV/MP3/VBR/FLAC]
Thread 71415
tangotreats
11-11-2009, 12:30 AM
I'm sorry to go sort-of off topic again, but this "MP3 sucks, only FLAC will do" nonsense is driving me mad. It's propogated by the same sort of people who spend $100,000 on special magical cables for their Hi-fi that are technologically proven to offer absolutely no benefit whatsoever, but continue on anyhow believing that they know better; "I'm an audiophile - I can tell..."
The same people who judge the quality of audio by its spectrograph instead of by listening to it. These folks are using the wrong sense; stop looking at music with your eyes, and start hearing it with your ears.
Obviously FLAC is superior in quality to MP3, that much is obviously beyond dispute. But I do wish that people would stop pretending that MP3 is hell and FLAC is heaven. MP3 (and other lossy codecs) are - when used correctly - excellent, and provide sound quality that a high proportion of even seasoned audiophile listeners cannot distinguish from the source. Insisting that file sharers adopt a codec which on average creates files four times the size of a good quality MP3, to satisfy a negligible percentage of unusually picky listeners (a significant percentage of which probably actually can't hear the difference but think that by pretending they can, they appear more "hard core") is absolutely idiotic.
As far as I'm concerned, if you're that concerned with getting the very very best, you can damn well go and buy the CD. Unless the CD is rare or difficult to obtain (in which case, a FLAC rip would be justified as it's the closest 99% of people will ever get to the physical CD) a lossless rip is just lunatic.
(Retailers are already getting the message with FLAC. Slowly but surely. First we had 128kbps as standard, then we had -V0 LAME, and now we're seeing the first lossless retailers break out. For them, it's not a priority, because by and large, people don't notice - and I don't just mean deaf teenagers with cheap PC speakers and Apple earbuds plugged into an iPhone.)
If most people (from a group of seasoned audio professionals, with high-end playback equipment and a trained ear) can't ABX LAME from FLAC, that's the deal breaker.
I entirely take the point that online music retailers should be offering FLAC -- AS AN ALTERNATIVE TO MP3 - but I fail to see the logic behind the "pirates will lead the industry" model that seems to be adopted. When music sharers share in lossless formats, a number of things happen (in the real world, folks):
1) Content producers get SUPERBLY pissed off (as opposed to just angry) and redouble their efforts to get filesharers shut down. (Remember why all this crap blew up on the forum a couple of months ago? It was the lossless shares that did it.)
2) Users who were on the wall about using the pirated music as a "try before you buy" scheme, and who would have then gone out and bought a legitimate copy, will say "Ah, I have FLAC - why do I need to buy anything - there's no sound quality benefit whatsoever; but there is a detriment to my wallet... so no sale." - piracy increases, legitimate sales decrease, content producers get even more angry - please see above.
3) Bandwidth, which for a vast majority of people is limited (moreso than ever with ISP's new criminally insane "fair usage" policies) is needlessly wasted and users who don't care / can't tell are forced to download enormous files... or they go without. Music sharing is about sharing music; it's not an exclusive club to which only superhuman, more-ego-than-brains audiophiles can join; it's about getting people to hear music.
If anything, the piracy community adopting FLAC as a standard will SLOW DOWN retailers' adoption of lossless distribution, because they will look at the market and wonder why they should spend vast sums of money to upgrade infrastructure, etc, in order to provide something which is a) only of interest to 0.1% of the market - and which is already on the black market. If I were a content producer making a pot of money selling crappy bitrate MP3s, and I saw people pirating FLAC, I'd think "F**k you guys. Now I'll NEVER offer FLAC. I'll take the money I would've spent buying in the additional servers and software, and I'll use it to shut you scumbags down instead."
In summary, frequent, regular, FLAC sharing as a standard benefits almost nobody, handicaps almost everybody, and hurts the music industry (and therefore angers it) far more than MP3 ever could - which in turn, as discussed above, will cause them to take more and more drastic action to curb or stop filesharing. We've already seen it right here. What further evidence do you need?
Thank you, ladies and gentlemen. :)
The same people who judge the quality of audio by its spectrograph instead of by listening to it. These folks are using the wrong sense; stop looking at music with your eyes, and start hearing it with your ears.
Obviously FLAC is superior in quality to MP3, that much is obviously beyond dispute. But I do wish that people would stop pretending that MP3 is hell and FLAC is heaven. MP3 (and other lossy codecs) are - when used correctly - excellent, and provide sound quality that a high proportion of even seasoned audiophile listeners cannot distinguish from the source. Insisting that file sharers adopt a codec which on average creates files four times the size of a good quality MP3, to satisfy a negligible percentage of unusually picky listeners (a significant percentage of which probably actually can't hear the difference but think that by pretending they can, they appear more "hard core") is absolutely idiotic.
As far as I'm concerned, if you're that concerned with getting the very very best, you can damn well go and buy the CD. Unless the CD is rare or difficult to obtain (in which case, a FLAC rip would be justified as it's the closest 99% of people will ever get to the physical CD) a lossless rip is just lunatic.
(Retailers are already getting the message with FLAC. Slowly but surely. First we had 128kbps as standard, then we had -V0 LAME, and now we're seeing the first lossless retailers break out. For them, it's not a priority, because by and large, people don't notice - and I don't just mean deaf teenagers with cheap PC speakers and Apple earbuds plugged into an iPhone.)
If most people (from a group of seasoned audio professionals, with high-end playback equipment and a trained ear) can't ABX LAME from FLAC, that's the deal breaker.
I entirely take the point that online music retailers should be offering FLAC -- AS AN ALTERNATIVE TO MP3 - but I fail to see the logic behind the "pirates will lead the industry" model that seems to be adopted. When music sharers share in lossless formats, a number of things happen (in the real world, folks):
1) Content producers get SUPERBLY pissed off (as opposed to just angry) and redouble their efforts to get filesharers shut down. (Remember why all this crap blew up on the forum a couple of months ago? It was the lossless shares that did it.)
2) Users who were on the wall about using the pirated music as a "try before you buy" scheme, and who would have then gone out and bought a legitimate copy, will say "Ah, I have FLAC - why do I need to buy anything - there's no sound quality benefit whatsoever; but there is a detriment to my wallet... so no sale." - piracy increases, legitimate sales decrease, content producers get even more angry - please see above.
3) Bandwidth, which for a vast majority of people is limited (moreso than ever with ISP's new criminally insane "fair usage" policies) is needlessly wasted and users who don't care / can't tell are forced to download enormous files... or they go without. Music sharing is about sharing music; it's not an exclusive club to which only superhuman, more-ego-than-brains audiophiles can join; it's about getting people to hear music.
If anything, the piracy community adopting FLAC as a standard will SLOW DOWN retailers' adoption of lossless distribution, because they will look at the market and wonder why they should spend vast sums of money to upgrade infrastructure, etc, in order to provide something which is a) only of interest to 0.1% of the market - and which is already on the black market. If I were a content producer making a pot of money selling crappy bitrate MP3s, and I saw people pirating FLAC, I'd think "F**k you guys. Now I'll NEVER offer FLAC. I'll take the money I would've spent buying in the additional servers and software, and I'll use it to shut you scumbags down instead."
In summary, frequent, regular, FLAC sharing as a standard benefits almost nobody, handicaps almost everybody, and hurts the music industry (and therefore angers it) far more than MP3 ever could - which in turn, as discussed above, will cause them to take more and more drastic action to curb or stop filesharing. We've already seen it right here. What further evidence do you need?
Thank you, ladies and gentlemen. :)
LordColin
11-11-2009, 12:48 AM
In short - damn right!
Lens of Truth
11-11-2009, 12:54 AM
Jeff Mills & Montpelier Philharmonic Orchestra - Blue Potential
http://www.youtube.com/watch?v=3wPbNf1jhzM
I'm about 50 minutes in and I have to say this isn't working for me. I just keep thinking that the orchestral part would sound better played with synths - sustained chords and banal repeated figures 'made acceptable' by the presence of the simplistic beat (as evinced by the crowd's reaction on its very deliberately withheld entry). The 'March' is nothing of the kind and I could do without some of the bull about what the music 'means' - "one voice", "for the Street" etc.
Credit to whoever orchestrated/composed it with Mills for making a decent job of an unlikely mix. There's kind of a weird fascination to hearing the orchestra alternate between techno monotony and more subtly realised music that sounds like a Bond score or something. The question remains though, why would you want/need a whole group of violins to repeat that same crotchet over and over and over? I guess for me this sort of thing just feels too pretentious to really enjoy.
Thomas Ades' take on orchestral techno:
http://www.youtube.com/watch?v=HRQr33PdyiQ
[Not a composer or a work I'm particularly fond of, but I thought it would make an interesting comparison]
http://www.youtube.com/watch?v=3wPbNf1jhzM
I'm about 50 minutes in and I have to say this isn't working for me. I just keep thinking that the orchestral part would sound better played with synths - sustained chords and banal repeated figures 'made acceptable' by the presence of the simplistic beat (as evinced by the crowd's reaction on its very deliberately withheld entry). The 'March' is nothing of the kind and I could do without some of the bull about what the music 'means' - "one voice", "for the Street" etc.
Credit to whoever orchestrated/composed it with Mills for making a decent job of an unlikely mix. There's kind of a weird fascination to hearing the orchestra alternate between techno monotony and more subtly realised music that sounds like a Bond score or something. The question remains though, why would you want/need a whole group of violins to repeat that same crotchet over and over and over? I guess for me this sort of thing just feels too pretentious to really enjoy.
Thomas Ades' take on orchestral techno:
http://www.youtube.com/watch?v=HRQr33PdyiQ
[Not a composer or a work I'm particularly fond of, but I thought it would make an interesting comparison]
Sirusjr
11-11-2009, 12:54 AM
Tango I agree in general with your proposition but it was pure coincidence that the big explosion happened in the lossless thread. It just happened that the user who was an ass to get himself banned mostly was a lossless downloader and thus caused the lossless movie soundtracks thread to explode.
From what I understand Itunes archives every single release in Apple Lossless and simply sells the lossy version. If more and more things go to 100% digital download mp3 I will simply stop paying for music, no questions asked. Of course there can never be FLAC versions available in this instance so no reason for content creators to not want to upgrade.
I agree that as a technical standpoint there is no real point to buy a CD once you have lossless but really the only point of buying music in the first place is (1) to have a collection or (2) to support the "artist". Of course number 2 is more along the lines of supporting the labels, something you may or may not want to do.
Personally I go along with 1 and I believe most film music fans or orchestral junkies like us do so as well. I know a number of people from the now dead Lossless Movie Soundtrack thread who purchased albums after downloading lossless because they have a collection from certain composers or just of film music in general. To me that just saves me the trouble of ripping my CD to lossless when I get it (generally to avoid wear and tear on my disc and as a backup in case something terrible happens).
Arguably I have even less an incentive to purchase music when it is only available in digital format (be it lossy or lossless) because I can no longer fill my shelves with numerous physical cases with artwork and disc to show how many albums I own. Instead I just have a folder filled with numerous mp3s and little to distinguish the purchased from the pirated. In that sense, I think that the complete move away from offering physical media to purchase will be the downfall of the content industry as a whole.
From what I understand Itunes archives every single release in Apple Lossless and simply sells the lossy version. If more and more things go to 100% digital download mp3 I will simply stop paying for music, no questions asked. Of course there can never be FLAC versions available in this instance so no reason for content creators to not want to upgrade.
I agree that as a technical standpoint there is no real point to buy a CD once you have lossless but really the only point of buying music in the first place is (1) to have a collection or (2) to support the "artist". Of course number 2 is more along the lines of supporting the labels, something you may or may not want to do.
Personally I go along with 1 and I believe most film music fans or orchestral junkies like us do so as well. I know a number of people from the now dead Lossless Movie Soundtrack thread who purchased albums after downloading lossless because they have a collection from certain composers or just of film music in general. To me that just saves me the trouble of ripping my CD to lossless when I get it (generally to avoid wear and tear on my disc and as a backup in case something terrible happens).
Arguably I have even less an incentive to purchase music when it is only available in digital format (be it lossy or lossless) because I can no longer fill my shelves with numerous physical cases with artwork and disc to show how many albums I own. Instead I just have a folder filled with numerous mp3s and little to distinguish the purchased from the pirated. In that sense, I think that the complete move away from offering physical media to purchase will be the downfall of the content industry as a whole.
NaotaM
11-11-2009, 02:02 AM
Wow, this thread's gone in some neat directions in the past month. Very interesting. Just a few thoughts.
I've never actually heard of this Yameshita person, though I have some of his music tagged under simply "KOEI". Is Taouden the same as Iron Triangle?
I really enjoyed Rise to Power and IT. Though Yameshita doesn't come close to topping Yoko Kanno's masterful work with the Nobunaga series; following up her deft melding of late Romantic classical compositions with delicate Asian motifs would be an impossible task for just about anyone; they're wonderful works in their own rights. Really gotta look for more of this guy.
I remember seeing Tytania and Shangri-la and thinking they were the stupidest things I'd seen in a looooong time, but by God are they sweet to the ears. They're not perfect; Tytania's Wagner-esque opener is positively painful, and some of Shangri-la's pieces are duds, too; my "favorite" is this one tinkly harpsichord piece that screams "EVIIIIIIIL PEOPLE, DOIIIIIIING THINGS".
I was really interested in hearing how Hitomi would handle having sole composing duties and she does mostly alright. I was worried about her range, as her songwriting kinda runs together to me, though when it stands out, it's simply beautiful(Over the Sky, Secret of the Moon.) I look forward to seeing her do more full composing with some practice.
Ya know, I've always been kinda iffy about the Final Fantasy Piano Collections. Is it just me, or is Uematsu's skill with the instrument sort of...uneven? One moment he's playing deliciously decadent melodies with grace and a keen ear for melody and then..he sounds like a child playing at a grade-school recital, just plunking along with no verve, vibration or spirit. The song itself can be an influence as well; To Zanarkand = blatantly emotional cheese.
The only one that ever impressed me was FFX's. Masashi Hamauzu really is one of gaming's greatest, criminally-overlooked composers, next to Noriko Matsueda and Hajime Wakai. The man's sheer skill with the piano is pure cinnamon for the ears; I could listen to him and Kanno play all day.
Does anyone happen to have GaoGaiGar and After War Gundam X? Been looking for those everywhere. Mp3 is preferrable.
I've never actually heard of this Yameshita person, though I have some of his music tagged under simply "KOEI". Is Taouden the same as Iron Triangle?
I really enjoyed Rise to Power and IT. Though Yameshita doesn't come close to topping Yoko Kanno's masterful work with the Nobunaga series; following up her deft melding of late Romantic classical compositions with delicate Asian motifs would be an impossible task for just about anyone; they're wonderful works in their own rights. Really gotta look for more of this guy.
I remember seeing Tytania and Shangri-la and thinking they were the stupidest things I'd seen in a looooong time, but by God are they sweet to the ears. They're not perfect; Tytania's Wagner-esque opener is positively painful, and some of Shangri-la's pieces are duds, too; my "favorite" is this one tinkly harpsichord piece that screams "EVIIIIIIIL PEOPLE, DOIIIIIIING THINGS".
I was really interested in hearing how Hitomi would handle having sole composing duties and she does mostly alright. I was worried about her range, as her songwriting kinda runs together to me, though when it stands out, it's simply beautiful(Over the Sky, Secret of the Moon.) I look forward to seeing her do more full composing with some practice.
Ya know, I've always been kinda iffy about the Final Fantasy Piano Collections. Is it just me, or is Uematsu's skill with the instrument sort of...uneven? One moment he's playing deliciously decadent melodies with grace and a keen ear for melody and then..he sounds like a child playing at a grade-school recital, just plunking along with no verve, vibration or spirit. The song itself can be an influence as well; To Zanarkand = blatantly emotional cheese.
The only one that ever impressed me was FFX's. Masashi Hamauzu really is one of gaming's greatest, criminally-overlooked composers, next to Noriko Matsueda and Hajime Wakai. The man's sheer skill with the piano is pure cinnamon for the ears; I could listen to him and Kanno play all day.
Does anyone happen to have GaoGaiGar and After War Gundam X? Been looking for those everywhere. Mp3 is preferrable.
garcia27
11-11-2009, 02:13 AM
The Endurance Shackleton's Legendary Antarctic Expedition (2000) - Michael Small
Here a not easy-listening score. You will need to listen it several times in order to really appreciate its quality. May be too atmospheric.
However, and truly, I can feel the cold suffered by these adventurers only by listening Small's music. This ranges from a deep, foreboding orchestral piece which recalls whale sounds to Irish jigs and Tibetan vocals. Transitions from old footage to new are seamless.
(http://www.postimage.org/image.php?v=aVp19yA)
http://www.megaupload.com/?d=334G4IIC
Credits to the original uploader
About the documentary:
In the early minutes of ''Endurance: Shackleton's Legendary Antarctic Expedition,'' the jaded viewer, especially one who spends a lot of time watching PBS and the History and Discovery Channels, may experience a touch of d�j� vu. Here are the usual trappings of television-style historical reconstruction: an orchestral score (by Michael Small) swollen with portent, the equally solemn voice of a well-known actor (Liam Neeson) and the alternation of present-day film clips (of penguins and ice floes) with black-and-white still photographs and silent moving images.
The story that these sounds and images have been assembled to tell is also a familiar one. Ernest Shackleton's unsuccessful but nonetheless curiously triumphant attempt to traverse the Antarctic landmass has been chronicled many times before, beginning with Shackleton's own memoir, ''South,'' published in 1919 and the basis for a haunting silent documentary of the same name. Caroline Alexander's recent book, on which George Butler's new documentary is based, found hundreds of thousands of readers whose appetites had been whetted by other real-life tales of death-defying adventure, like ''The Perfect Storm'' and ''Into Thin Air.''
The tale, in any case, is so gripping, so full of improbable turns and agonizing reversals that it bears repeating, and Mr. Butler and Ms. Alexander tell it straightforwardly and well.
Before long -- as Shackleton and his men sail off, full of Edwardian pluck, into a 22-month ordeal of hunger, frustration and cold -- you become like a restless child at bedtime stilled and enraptured by the sheer power of narrative, and your skepticism is overwhelmed by a childlike greediness for vicarious adventure.
Shackleton's voyage may have been motivated more by vain glory-mongering than by scientific curiosity or even the desire to be first; his Norwegian rival Amundsen had already beaten him to the South Pole. Viewed as a whole, his actions recall the brave old Duke of York of nursery-rhyme fame: Shackleton led 28 men, a microcosm of British class and regional divisions, into terrifying danger and then led them out again.
It's the second part of that sentence that gives Shackleton his aura of heroism and that transforms him from a quaint, slightly absurd figure into an embodiment of old-fashioned gentlemanly virtue. The Endurance departed England in August 1914, four days after the outbreak of World War I, with the blessings of Winston Churchill, who brushed aside Shackleton's offer of the ship and its men to the Royal Admiralty. Six months later, a day's sail away from the Antarctic landmass, the ship was struck in pack ice, unable to proceed.
For seven months the crew remained stranded, until Shackleton gave the order to abandon ship. It was another six months before they were able to put to sea in open lifeboats. Every time the men managed to overcome one difficulty, a more dire obstacle seemed to rise up in front of them.
What is most remarkable about ''Endurance,'' which opens today at the Angelika, is how close it brings you, using the means at its disposal, to the raw experience of the voyage itself. The ship's photographer, Frank Hurley, rescued a batch of negatives from the sinking Endurance, and these ghostly impressions are the heart of the film. (An exhibition of them at the American Museum of Natural History was the occasion for Ms. Alexander's book.)
The filmmakers, who retraced some of Shackleton's steps to capture the otherwordly landscapes he explored, also use the testimony of descendants of the crew and a few discreet and well-placed re-enactments. The interviews especially convey a sense of the curious society of the voyagers. In the accents of their children and grandchildren, which range from the plummiest upper-crust murmur to the thorniest Scots burr, you hear the vestiges of the strict class hierarchy that defined Shackleton's world.
But you also feel, through the alchemy of photographs and recollections, the individuality of the men, and the frictions among them that Shackleton had to suppress if anyone was to survive.
What did not survive was the bluff, imperial self-confidence that drove Shackleton and inspired his crew. The war, which consumed Europe as the Endurance was frozen -- in time as much as in polar ice -- made him obsolete even before his return. His men, expecting a heroes' welcome, were suspected of cowardice, as if they had deliberately chosen frostbite and near starvation over combat, for which many of them immediately volunteered.
Their world seems to exist in the shadow of legend now, but Mr. Butler and Ms. Alexander bring it closer to ours.
About Michael Small
No doubt the '70s were a prolific period in terms of new American composers, all with the common denominator of musical stagnation and rapid disappearance of the musical foreground. These examples are: Jack Elliot (TR Baskin, 1971), Barry De Vorzon (The wrestler (Hard Times, 1975)) or Robert O. Ragland (with his masterpiece, Grizzly, 1976). Michael Small is a exponent of this. They were born, were reproduced and died musically with unusual speed. Because in this business, as elsewhere, it is difficult not to come, but know how to keep.
Small studied classical piano and begun his career on Broadway with musical arrangements and direction of various shows There he knows a strange independent film director named Paul Williams (nothing to do with the composer) He try their fortune in the soundtrack in order to collect some money. He composed Out of It, The Revolucionary and Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues, which although not very lucky in terms of quality helped him to contact the editor of such films, Carl Lerner, who was the same as Alan J. Pakula.
With Pakula has a great friendship over time, being noteworthy his trilogy with Jane Fonda (Klute, Comes a Horseman, and A business woman), all love melodramas, and her latest collaboration in the suspense film Two pairs. With a smooth, elegant jazz, Small participates in the 70 outstanding thrillers as Marathon Man, The night is moving, Driver, and water neck.
Codename: Bob Rafelson director who knew how to retrieve the class and ability melodic from the composer during the '80s and '90s in its approach to black cinema with the case of the black widow adapting James M. Cain (The Postman Always Rings Twice) and Raymond Chandler (Poodle Springs). In addition, its adventurous and epic Mountains of the moon served to prove his ability Small orchestra.
Here a not easy-listening score. You will need to listen it several times in order to really appreciate its quality. May be too atmospheric.
However, and truly, I can feel the cold suffered by these adventurers only by listening Small's music. This ranges from a deep, foreboding orchestral piece which recalls whale sounds to Irish jigs and Tibetan vocals. Transitions from old footage to new are seamless.
(http://www.postimage.org/image.php?v=aVp19yA)http://www.megaupload.com/?d=334G4IIC
Credits to the original uploader
About the documentary:
In the early minutes of ''Endurance: Shackleton's Legendary Antarctic Expedition,'' the jaded viewer, especially one who spends a lot of time watching PBS and the History and Discovery Channels, may experience a touch of d�j� vu. Here are the usual trappings of television-style historical reconstruction: an orchestral score (by Michael Small) swollen with portent, the equally solemn voice of a well-known actor (Liam Neeson) and the alternation of present-day film clips (of penguins and ice floes) with black-and-white still photographs and silent moving images.
The story that these sounds and images have been assembled to tell is also a familiar one. Ernest Shackleton's unsuccessful but nonetheless curiously triumphant attempt to traverse the Antarctic landmass has been chronicled many times before, beginning with Shackleton's own memoir, ''South,'' published in 1919 and the basis for a haunting silent documentary of the same name. Caroline Alexander's recent book, on which George Butler's new documentary is based, found hundreds of thousands of readers whose appetites had been whetted by other real-life tales of death-defying adventure, like ''The Perfect Storm'' and ''Into Thin Air.''
The tale, in any case, is so gripping, so full of improbable turns and agonizing reversals that it bears repeating, and Mr. Butler and Ms. Alexander tell it straightforwardly and well.
Before long -- as Shackleton and his men sail off, full of Edwardian pluck, into a 22-month ordeal of hunger, frustration and cold -- you become like a restless child at bedtime stilled and enraptured by the sheer power of narrative, and your skepticism is overwhelmed by a childlike greediness for vicarious adventure.
Shackleton's voyage may have been motivated more by vain glory-mongering than by scientific curiosity or even the desire to be first; his Norwegian rival Amundsen had already beaten him to the South Pole. Viewed as a whole, his actions recall the brave old Duke of York of nursery-rhyme fame: Shackleton led 28 men, a microcosm of British class and regional divisions, into terrifying danger and then led them out again.
It's the second part of that sentence that gives Shackleton his aura of heroism and that transforms him from a quaint, slightly absurd figure into an embodiment of old-fashioned gentlemanly virtue. The Endurance departed England in August 1914, four days after the outbreak of World War I, with the blessings of Winston Churchill, who brushed aside Shackleton's offer of the ship and its men to the Royal Admiralty. Six months later, a day's sail away from the Antarctic landmass, the ship was struck in pack ice, unable to proceed.
For seven months the crew remained stranded, until Shackleton gave the order to abandon ship. It was another six months before they were able to put to sea in open lifeboats. Every time the men managed to overcome one difficulty, a more dire obstacle seemed to rise up in front of them.
What is most remarkable about ''Endurance,'' which opens today at the Angelika, is how close it brings you, using the means at its disposal, to the raw experience of the voyage itself. The ship's photographer, Frank Hurley, rescued a batch of negatives from the sinking Endurance, and these ghostly impressions are the heart of the film. (An exhibition of them at the American Museum of Natural History was the occasion for Ms. Alexander's book.)
The filmmakers, who retraced some of Shackleton's steps to capture the otherwordly landscapes he explored, also use the testimony of descendants of the crew and a few discreet and well-placed re-enactments. The interviews especially convey a sense of the curious society of the voyagers. In the accents of their children and grandchildren, which range from the plummiest upper-crust murmur to the thorniest Scots burr, you hear the vestiges of the strict class hierarchy that defined Shackleton's world.
But you also feel, through the alchemy of photographs and recollections, the individuality of the men, and the frictions among them that Shackleton had to suppress if anyone was to survive.
What did not survive was the bluff, imperial self-confidence that drove Shackleton and inspired his crew. The war, which consumed Europe as the Endurance was frozen -- in time as much as in polar ice -- made him obsolete even before his return. His men, expecting a heroes' welcome, were suspected of cowardice, as if they had deliberately chosen frostbite and near starvation over combat, for which many of them immediately volunteered.
Their world seems to exist in the shadow of legend now, but Mr. Butler and Ms. Alexander bring it closer to ours.
About Michael Small
No doubt the '70s were a prolific period in terms of new American composers, all with the common denominator of musical stagnation and rapid disappearance of the musical foreground. These examples are: Jack Elliot (TR Baskin, 1971), Barry De Vorzon (The wrestler (Hard Times, 1975)) or Robert O. Ragland (with his masterpiece, Grizzly, 1976). Michael Small is a exponent of this. They were born, were reproduced and died musically with unusual speed. Because in this business, as elsewhere, it is difficult not to come, but know how to keep.
Small studied classical piano and begun his career on Broadway with musical arrangements and direction of various shows There he knows a strange independent film director named Paul Williams (nothing to do with the composer) He try their fortune in the soundtrack in order to collect some money. He composed Out of It, The Revolucionary and Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues, which although not very lucky in terms of quality helped him to contact the editor of such films, Carl Lerner, who was the same as Alan J. Pakula.
With Pakula has a great friendship over time, being noteworthy his trilogy with Jane Fonda (Klute, Comes a Horseman, and A business woman), all love melodramas, and her latest collaboration in the suspense film Two pairs. With a smooth, elegant jazz, Small participates in the 70 outstanding thrillers as Marathon Man, The night is moving, Driver, and water neck.
Codename: Bob Rafelson director who knew how to retrieve the class and ability melodic from the composer during the '80s and '90s in its approach to black cinema with the case of the black widow adapting James M. Cain (The Postman Always Rings Twice) and Raymond Chandler (Poodle Springs). In addition, its adventurous and epic Mountains of the moon served to prove his ability Small orchestra.
jakob
11-11-2009, 02:19 AM
I think that the complete move away from offering physical media to purchase will be the downfall of the content industry as a whole.
I disagree. While there will be some people who feel cheated out of nice album notes and a physical CD book they can flip through, it is obvious through the overwhelming boom of the Itunes store and other mp3 online stores like Amazon that many people prefer this method of purchasing music. I know I don't really care to have a whole load of CD cases that I have to find a place for. Distinguishing the purchased from the pirated is only an issue for those that pirate music. If you buy all of your music, that isn't an issue.
I do believe there is a portion of the market that does want physical media to remain available (such as Sirusjr) and that is commendable but I don't think this is the majority. I don't know if the big record companies will ever actually stop producing the physical media, but I don't think that would kill the industry at all.
Now for the FLAC issue. I totally agree with Tangotreats. The whole idea with mp3 is compression, and the idea with VBR is compression with better quality. If you really want lossless, why don't you just rip a WAV file and skip the compression altogether? I don't really understand the FLAC craze. CD quality really isn't all that high anyway! (2 channels, 44100 Hz, 16 bit) There is going to have to be an upgrade to quality and recording medium some time in the future anyway, so compression will continue to be an issue as file size will increase. The majority of the buyers that will own 100 or so CD's won't have 10 TB (i'm just throwing a number out there) of hard disk space to accomodate the larger lossless files of the new media.
Bottom line is: there will continue to be compressed audio files of good quality. The different download services, or possibly the record companies themselves, may offer lossless in the future, but I can't tell the difference between a really well ripped 256k mp3 (which, last time I bought music, was the standard on Itunes and Amazon) and a CD! If you played them in a double-blind test with incredible speakers, maybe I could, but the difference would not be large by any means. If you really care about the MUSIC , and not the audio itself (as long as it is well-produced), it shouldn't matter. If you REALLY want a FLAC that badly, buy the dang thing and rip it yourself.
I disagree. While there will be some people who feel cheated out of nice album notes and a physical CD book they can flip through, it is obvious through the overwhelming boom of the Itunes store and other mp3 online stores like Amazon that many people prefer this method of purchasing music. I know I don't really care to have a whole load of CD cases that I have to find a place for. Distinguishing the purchased from the pirated is only an issue for those that pirate music. If you buy all of your music, that isn't an issue.
I do believe there is a portion of the market that does want physical media to remain available (such as Sirusjr) and that is commendable but I don't think this is the majority. I don't know if the big record companies will ever actually stop producing the physical media, but I don't think that would kill the industry at all.
Now for the FLAC issue. I totally agree with Tangotreats. The whole idea with mp3 is compression, and the idea with VBR is compression with better quality. If you really want lossless, why don't you just rip a WAV file and skip the compression altogether? I don't really understand the FLAC craze. CD quality really isn't all that high anyway! (2 channels, 44100 Hz, 16 bit) There is going to have to be an upgrade to quality and recording medium some time in the future anyway, so compression will continue to be an issue as file size will increase. The majority of the buyers that will own 100 or so CD's won't have 10 TB (i'm just throwing a number out there) of hard disk space to accomodate the larger lossless files of the new media.
Bottom line is: there will continue to be compressed audio files of good quality. The different download services, or possibly the record companies themselves, may offer lossless in the future, but I can't tell the difference between a really well ripped 256k mp3 (which, last time I bought music, was the standard on Itunes and Amazon) and a CD! If you played them in a double-blind test with incredible speakers, maybe I could, but the difference would not be large by any means. If you really care about the MUSIC , and not the audio itself (as long as it is well-produced), it shouldn't matter. If you REALLY want a FLAC that badly, buy the dang thing and rip it yourself.
Sirusjr
11-11-2009, 02:40 AM
I know that most people don't care about physical media but I think that the avid soundtrack collectors would stop buying music if the physical media were no longer produced. Of course popular stuff would not have any problem selling if physical media were no longer produced because that stuff sells anyways. Tango's post assumes that people download before they buy anyways so your point about downloads and purchases being indistinguishable is still the same.
Assuming for the purposes of argument that physical media were completely abolished, it seems illogical that the average consumer who has downloaded something would go and spend money on the same thing if they already have it. There will have to be some additional value to the purchased music in order to make people want to buy music they have already downloaded. Otherwise there will have to be significant drop in price of downloaded music and better channels to sample something so that people no longer need to pirate in order to determine if something is worth their money.
Assuming for the purposes of argument that physical media were completely abolished, it seems illogical that the average consumer who has downloaded something would go and spend money on the same thing if they already have it. There will have to be some additional value to the purchased music in order to make people want to buy music they have already downloaded. Otherwise there will have to be significant drop in price of downloaded music and better channels to sample something so that people no longer need to pirate in order to determine if something is worth their money.
Doublehex
11-11-2009, 04:36 AM
jakob
11-11-2009, 05:44 AM
Lol @ the pic
It's a hard argument that has merit on both sides I think.
I wasn't meaning to argue, and it doesn't seem like you took it that way ( I just say that because of the picture).
It's a hard argument that has merit on both sides I think.
I wasn't meaning to argue, and it doesn't seem like you took it that way ( I just say that because of the picture).
Sirusjr
11-11-2009, 05:54 AM
Arguing is fun though, no harm done :D
That pic is funny too XD
That pic is funny too XD
Doublehex
11-11-2009, 06:00 AM
Lol @ the pic
It's a hard argument that has merit on both sides I think.
I wasn't meaning to argue, and it doesn't seem like you took it that way ( I just say that because of the picture).
No, it's more like Tango Treats here pretty much destroyed any argument for FLAC. :D
And I didn't see it as arguing. Just us respectfully disagreeing.
We can also respectfully tear you to pieces. :D
It's a hard argument that has merit on both sides I think.
I wasn't meaning to argue, and it doesn't seem like you took it that way ( I just say that because of the picture).
No, it's more like Tango Treats here pretty much destroyed any argument for FLAC. :D
And I didn't see it as arguing. Just us respectfully disagreeing.
We can also respectfully tear you to pieces. :D
JRL3001
11-11-2009, 06:10 AM
Hehe thats a great picture :)
Anyways, thought I would share my newest bit of musical discovery. Started watching this series last weekend and really am enjoying the music. This is NOT my rip, got it from a friend. Decent quality mp3. Enjoy :)
Gunbuster 2 Original Soundtrack
Tanaka Kouhei
http://www.sendspace.com/file/p56v9a
Anyways, thought I would share my newest bit of musical discovery. Started watching this series last weekend and really am enjoying the music. This is NOT my rip, got it from a friend. Decent quality mp3. Enjoy :)
Gunbuster 2 Original Soundtrack
Tanaka Kouhei
http://www.sendspace.com/file/p56v9a
herbaciak
11-11-2009, 11:51 AM
Tango - Amen to your off-topic:).
Thomas Ades' take on orchestral techno:
http://www.youtube.com/watch?v=HRQr33PdyiQ
Well... That was (sorry for my language) fucked up xD. I don't know, it was almost cacophonic at times, but... it was also interesting. Not a music I would like to hear in my headphones though. But few instruments were awesome;D.
Credit to whoever orchestrated/composed it with Mills for making a decent job of an unlikely mix. There's kind of a weird fascination to hearing the orchestra alternate between techno monotony and more subtly realised music that sounds like a Bond score or something. The question remains though, why would you want/need a whole group of violins to repeat that same crotchet over and over and over? I guess for me this sort of thing just feels too pretentious to really enjoy.
I actually think that without live orchestra it would be way worse, it would be just techno. Yes, it's strange when big orchestra plays the same phrase all over again, but the performance imo is just great. In Imagine strings are so nice, brass sounds so joyfull. I think it really gives a lot of life to this repetitivness, no samples could do that. So yes, I rather like this experiment (parts without a beat are really of high value), but indeed it has smaller and bigger flaws (digital claping in Keatons Theme was just beyond my comprehension, this track is sooo bad;)).
And the orchestrations were made by Thomas Roussel. Have no idea who this guy is;).
Thomas Ades' take on orchestral techno:
http://www.youtube.com/watch?v=HRQr33PdyiQ
Well... That was (sorry for my language) fucked up xD. I don't know, it was almost cacophonic at times, but... it was also interesting. Not a music I would like to hear in my headphones though. But few instruments were awesome;D.
Credit to whoever orchestrated/composed it with Mills for making a decent job of an unlikely mix. There's kind of a weird fascination to hearing the orchestra alternate between techno monotony and more subtly realised music that sounds like a Bond score or something. The question remains though, why would you want/need a whole group of violins to repeat that same crotchet over and over and over? I guess for me this sort of thing just feels too pretentious to really enjoy.
I actually think that without live orchestra it would be way worse, it would be just techno. Yes, it's strange when big orchestra plays the same phrase all over again, but the performance imo is just great. In Imagine strings are so nice, brass sounds so joyfull. I think it really gives a lot of life to this repetitivness, no samples could do that. So yes, I rather like this experiment (parts without a beat are really of high value), but indeed it has smaller and bigger flaws (digital claping in Keatons Theme was just beyond my comprehension, this track is sooo bad;)).
And the orchestrations were made by Thomas Roussel. Have no idea who this guy is;).
joypad
11-11-2009, 02:14 PM
.
Sirusjr
11-11-2009, 03:03 PM
assumptions are dangerous. the amount of cds ive bought on a whim to try out. lossless lovers are more likely collectors and support artists more by paying more that cd in order to share it as well keep for their own collection.
The only times I've ever bought something without hearing it were (1) when I was a huge fan of the artist and so I knew it was going to be awesome (preorders of Blue Dragon, Lost Odyssey soundtracks, Preorders of Kokia and Angela Aki albums) or (2) when something was in a clearance section and so nice and cheap (like many of the anime albums I recently ripped that I got on rightstuf in the bargain bin).
Still I doubt someone would go and import a game or anime soundtrack from Japan unless they had either listened to the music in the show/game itself and loved it or heard it previously through a download. Because I don't have time to play or watch every game/anime in existence, I usually have to download the soundtrack first to decide if it is good (same goes for Hollywood Movies).
It is a little bit easier when you are dealing with other genres (pop, rock, metal or w/e else) because usually an artist has either a myspace with samples or a few music videos with full tracks so you can get SOME idea. Of course generally the tracks provided for samples are the best on the album so you may find that random purchase turns out crap.
The only times I've ever bought something without hearing it were (1) when I was a huge fan of the artist and so I knew it was going to be awesome (preorders of Blue Dragon, Lost Odyssey soundtracks, Preorders of Kokia and Angela Aki albums) or (2) when something was in a clearance section and so nice and cheap (like many of the anime albums I recently ripped that I got on rightstuf in the bargain bin).
Still I doubt someone would go and import a game or anime soundtrack from Japan unless they had either listened to the music in the show/game itself and loved it or heard it previously through a download. Because I don't have time to play or watch every game/anime in existence, I usually have to download the soundtrack first to decide if it is good (same goes for Hollywood Movies).
It is a little bit easier when you are dealing with other genres (pop, rock, metal or w/e else) because usually an artist has either a myspace with samples or a few music videos with full tracks so you can get SOME idea. Of course generally the tracks provided for samples are the best on the album so you may find that random purchase turns out crap.
Elemental Eye
11-11-2009, 07:15 PM
I always feel guilty about downloading pirated material. However, in my home country there are absolutely no way you could find majority of the stuff that has been posted here. And in those rare cases something actually is available, it can only be purchased via internet, I don't know a single music shop that would actually sell soundtracks. With anime music there's just no way... I have actually managed to get my hands on FF Symphonic Suite but I found it accidentally from "online flea market". It was expensive (about 50$), but totally worth it. And that was incredibly lucky.
JRL3001
11-12-2009, 05:05 AM
talking about awesome finds in the bargain bin... Just nabbed Amano's Ninja Resurrection score off Right Stuff's website for 2 beans :) Can't wait for it to arrive :D
Sirusjr
11-12-2009, 05:08 AM
talking about awesome finds in the bargain bin... Just nabbed Amano's Ninja Resurrection score off Right Stuff's website for 2 beans :) Can't wait for it to arrive :D
Hellz ya! I'm surprised they still have some copies.
EDIT: Here is an interesting video with a preview track from the new Final Fantasy Crystal Chronicles Wii game. Music by Hidenori Iwasaki
http://www.gametrailers.com/video/japanese-soundtrack-final-fantasy/58864
Hellz ya! I'm surprised they still have some copies.
EDIT: Here is an interesting video with a preview track from the new Final Fantasy Crystal Chronicles Wii game. Music by Hidenori Iwasaki
http://www.gametrailers.com/video/japanese-soundtrack-final-fantasy/58864
Lens of Truth
11-13-2009, 01:13 AM
Well... That was (sorry for my language) fucked up xD
Couldn't have said it better myself. But if you think that's f*cked, it's the tip of the iceberg as far as Ad�s goes ;)
This is a piece for Wind Band by David Maslanka. I don't know if any of you are familiar with his work, but I figured some of you might enjoy this one. The performance was done last year by the University of Utah, so forgive any errors, but focus on the music (For example, the horn and euphonium line after the tempo change in the first movement loses a few of the attacks on the A and just holds, instead of how the euphonium later plays it in solo form in the same movement) I've included a picture of the composer for those who want album art for ipods and whatnot, as this is not an official release.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
Absolutely gorgeous, powerful! Thank you! :)
This is my first acquaintance with Maslanka and I'm going to have to buy more! It's just the type of solid-but-spicy tonalism I love. Lots of great rhythms and incredible textures. Searching the web for info I found a blog of a music student who's extremly daunted at the prospect of composing their first piece for wind band - "what to do with all that colour?!!". Well Maslanka would seem to be an excellent model; so many different combinations, voicings and effects but it all comes together perfectly and never feels gimmicky. Stylistically the music touches on minimalism and also feels like a film score at times. Then there's the eccstatic architectonic swells and surges - (sorry to sound like a broken record but..) this guy must have LOVED Bruckner! XD The performance sounds bloody good to me. The conviction is really there.
Here is an interesting video with a preview track from the new Final Fantasy Crystal Chronicles Wii game. Music by Hidenori Iwasaki
http://www.gametrailers.com/video/japanese-soundtrack-final-fantasy/58864
Sounds like they've thrown a bit of everything into this. Here's a page on the official site with some samples. Track 9 is orchestral. http://member.square-enix.com/jp/special/music/crystalbearers/
Couldn't have said it better myself. But if you think that's f*cked, it's the tip of the iceberg as far as Ad�s goes ;)
This is a piece for Wind Band by David Maslanka. I don't know if any of you are familiar with his work, but I figured some of you might enjoy this one. The performance was done last year by the University of Utah, so forgive any errors, but focus on the music (For example, the horn and euphonium line after the tempo change in the first movement loses a few of the attacks on the A and just holds, instead of how the euphonium later plays it in solo form in the same movement) I've included a picture of the composer for those who want album art for ipods and whatnot, as this is not an official release.
http://rapidshare.com/files/303064244/Maslanka_Symphony_No._8.rar
Absolutely gorgeous, powerful! Thank you! :)
This is my first acquaintance with Maslanka and I'm going to have to buy more! It's just the type of solid-but-spicy tonalism I love. Lots of great rhythms and incredible textures. Searching the web for info I found a blog of a music student who's extremly daunted at the prospect of composing their first piece for wind band - "what to do with all that colour?!!". Well Maslanka would seem to be an excellent model; so many different combinations, voicings and effects but it all comes together perfectly and never feels gimmicky. Stylistically the music touches on minimalism and also feels like a film score at times. Then there's the eccstatic architectonic swells and surges - (sorry to sound like a broken record but..) this guy must have LOVED Bruckner! XD The performance sounds bloody good to me. The conviction is really there.
Here is an interesting video with a preview track from the new Final Fantasy Crystal Chronicles Wii game. Music by Hidenori Iwasaki
http://www.gametrailers.com/video/japanese-soundtrack-final-fantasy/58864
Sounds like they've thrown a bit of everything into this. Here's a page on the official site with some samples. Track 9 is orchestral. http://member.square-enix.com/jp/special/music/crystalbearers/
jakob
11-13-2009, 02:26 AM
Glad you liked it! Like I said before, A Child's Garden of Dreams is just as good as symphony number 8. Actually, I think I might just get it when I get home and upload it! It is based on a series of dreams that an 8-year girl had (true story) predicting her death. The names of the movements are really weird, like " A horde of small animals frightens the dreamer. The animals increase to a tremendous size, and one of them devours the little girl."
I met maslanka, and he worked with us to prepare one of his pieces. He's very reserved, but all of that seems to disappear in his music. As he describes his music he sort of goes off into his own little world. Odd fellow, but passionate.
I met maslanka, and he worked with us to prepare one of his pieces. He's very reserved, but all of that seems to disappear in his music. As he describes his music he sort of goes off into his own little world. Odd fellow, but passionate.
Sirusjr
11-13-2009, 02:40 AM
Lens How do you get the samples to play on that site? I can't figure it out.
Lens of Truth
11-13-2009, 03:11 AM
How odd. I can't get them to work now either! They must have taken them down. All the track samples are covered in this vid:
http://www.youtube.com/watch?v=XBGVbYczqSk
The one I was talking about begins at 2:48. Funny that the first piece is synth orchestra and the later one isn't. Apparently if you pre-order in America from BestBuy you get the soundtrack sampler.
http://www.youtube.com/watch?v=XBGVbYczqSk
The one I was talking about begins at 2:48. Funny that the first piece is synth orchestra and the later one isn't. Apparently if you pre-order in America from BestBuy you get the soundtrack sampler.
jakob
11-13-2009, 03:18 AM
Maslanka, David
http://rapidshare.com/files/306237346/Maslanka__Garden_of_Dreams.rar
A Child's Garden of Dreams
I. There is a desert on the moon where the dreamer sinks so deeply into the ground that she reaches hell
II. A drunken woman falls into the water and comes out renewed and sober
III. A horde of small animals frightens the dreamer. The animals increase to a tremendous size, and one of them devours the little girl.
IV. A drop of water is seen as it appears when looked at through a microscope. The girl sees that the drop is full of tree branches. This portrays the origin of the world.
V. An ascent into heaven, where pagan dances are being celebrated; and a descent into hell, where angels are doing good deeds.
Maslanka took the idea for this work from Jung's Man and His Symbols, in particular some of a girl patient's dreams which seemed to prefigure her death.
This one is from the Dallas Wind Ensemble with around V0 VBR ( I didn't know amazon did VBR, but I was listening to this and sure enough, the bitrate was jumping around all over the place)
http://rapidshare.com/files/306237346/Maslanka__Garden_of_Dreams.rar
A Child's Garden of Dreams
I. There is a desert on the moon where the dreamer sinks so deeply into the ground that she reaches hell
II. A drunken woman falls into the water and comes out renewed and sober
III. A horde of small animals frightens the dreamer. The animals increase to a tremendous size, and one of them devours the little girl.
IV. A drop of water is seen as it appears when looked at through a microscope. The girl sees that the drop is full of tree branches. This portrays the origin of the world.
V. An ascent into heaven, where pagan dances are being celebrated; and a descent into hell, where angels are doing good deeds.
Maslanka took the idea for this work from Jung's Man and His Symbols, in particular some of a girl patient's dreams which seemed to prefigure her death.
This one is from the Dallas Wind Ensemble with around V0 VBR ( I didn't know amazon did VBR, but I was listening to this and sure enough, the bitrate was jumping around all over the place)
Sirusjr
11-13-2009, 03:41 AM
Thanks for the link Lens. Enough there to convince me to not blindly preorder this one. I was a huge fan of the first gamecube soundtrack but the later ones have been less than awesome.
jakob
11-13-2009, 05:40 AM
I looked up some of this Holst guy's stuff on youtube. It's kinda good but I dunno. I'm more into stuff like Hans Zimmer's Gladiator. Classical music just isn't as good, IMHO.
I know this was like a month and a half ago, but this is totally hilarious. If I didn't know you were joking, I would be very upset... Just as a side note, I have never liked "IMHO", "AFAIK", "IIRC", and a couple other gems I can't recall, but I love that you used it there.
edit-Just downloaded the ff7 philharmonic suite. GREAT work, streichorchester.
I know this was like a month and a half ago, but this is totally hilarious. If I didn't know you were joking, I would be very upset... Just as a side note, I have never liked "IMHO", "AFAIK", "IIRC", and a couple other gems I can't recall, but I love that you used it there.
edit-Just downloaded the ff7 philharmonic suite. GREAT work, streichorchester.
Sirusjr
11-13-2009, 06:11 AM
I had no idea this was coming out but for some reason stumbled upon its existence today and was happy enough to notice Mewsie posted it in the Tales Series Music Thread. Of course as soon as I saw Akira Senju I was all over it! I of course had to share with everyone here my wonderful new find.
Tales of Vesperia ~The First Strike~ Animation Soundtrack
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
http://anonym.to/?http://rapidshare.com/files/306275217/TOV-Ani.rar
PSW: smile
Sample: http://www.youtube.com/watch?v=TATvfbIvRjI
I haven't had time to digest this full soundtrack yet but all it took was that sample to get me excited for it.
BIG THANKS to Mewsie for posting this!!
Tales of Vesperia ~The First Strike~ Animation Soundtrack
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
http://anonym.to/?http://rapidshare.com/files/306275217/TOV-Ani.rar
PSW: smile
Sample: http://www.youtube.com/watch?v=TATvfbIvRjI
I haven't had time to digest this full soundtrack yet but all it took was that sample to get me excited for it.
BIG THANKS to Mewsie for posting this!!
TREKmaniacX
11-13-2009, 08:47 AM
Tales of Vesperia ~The First Strike~ Animation Soundtrack
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
Awesome Soundtrack! Thanks :)
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
Awesome Soundtrack! Thanks :)
JRL3001
11-13-2009, 10:13 AM
OOoooooo Tales of Vesperia......*drools*
Hey just got a hold of 2 of the soundtrack releases for the ORIGINAL Gunbuster series (yes on a bit of a kick here after getting Gunbuster 2) Are you guys interested in me posting them here?
Hey just got a hold of 2 of the soundtrack releases for the ORIGINAL Gunbuster series (yes on a bit of a kick here after getting Gunbuster 2) Are you guys interested in me posting them here?
arthierr
11-13-2009, 03:26 PM
Hey just got a hold of 2 of the soundtrack releases for the ORIGINAL Gunbuster series (yes on a bit of a kick here after getting Gunbuster 2) Are you guys interested in me posting them here?
Or course we are. ;)
Your Gunbuster 2 post is a fantastic initiative. In fact it's one of my favourite Kouhei Tanaka scores. It reuses several themes present in the original series, but brought at an higher level of mastery. Superb stuff.
The posting of the original osts would be great for completion purpose. Moreover, there's a magnificient 10-minute symphonic suite in these albums which deserves to get a lot of attention.
Thank you!
Sorry to not make comments about the other recent posts, but my time is very limited right now, but I'll be much more active this weekend.
Cheers, mates! :)
Or course we are. ;)
Your Gunbuster 2 post is a fantastic initiative. In fact it's one of my favourite Kouhei Tanaka scores. It reuses several themes present in the original series, but brought at an higher level of mastery. Superb stuff.
The posting of the original osts would be great for completion purpose. Moreover, there's a magnificient 10-minute symphonic suite in these albums which deserves to get a lot of attention.
Thank you!
Sorry to not make comments about the other recent posts, but my time is very limited right now, but I'll be much more active this weekend.
Cheers, mates! :)
tangotreats
11-13-2009, 04:33 PM
Dear Sirusjr:
Please stop posting things about four seconds before I'm planning to do it myself. ;)
Yours sincerely,
Person who spent an hour and a half scanning the Tales Of Vesperia booklet last night for no reason
Please stop posting things about four seconds before I'm planning to do it myself. ;)
Yours sincerely,
Person who spent an hour and a half scanning the Tales Of Vesperia booklet last night for no reason
JRL3001
11-13-2009, 05:55 PM
Or course we are. ;)
Your Gunbuster 2 post is a fantastic initiative. In fact it's one of my favourite Kouhei Tanaka scores. It reuses several themes present in the original series, but brought at an higher level of mastery. Superb stuff.
The posting of the original osts would be great for completion purpose. Moreover, there's a magnificient 10-minute symphonic suite in these albums which deserves to get a lot of attention.
Thank you!
The music from Gunbuster 2 is fantastic. When I started watching the series last week (found the dvd's in the bargain bin at a local store!) I was pleasantly surprised with how great the score is! :D
Yes, as well, I was rather enjoying that 10 minute suit last night! Great stuff!! hehehe I will upload both albums tonight after I get back from work. Also I am working on getting a hold of a 3rd Gunbuster album, a 3cd one called Sound Collection of Gunbuster. Will pop that one up here when I get it too :)
Your Gunbuster 2 post is a fantastic initiative. In fact it's one of my favourite Kouhei Tanaka scores. It reuses several themes present in the original series, but brought at an higher level of mastery. Superb stuff.
The posting of the original osts would be great for completion purpose. Moreover, there's a magnificient 10-minute symphonic suite in these albums which deserves to get a lot of attention.
Thank you!
The music from Gunbuster 2 is fantastic. When I started watching the series last week (found the dvd's in the bargain bin at a local store!) I was pleasantly surprised with how great the score is! :D
Yes, as well, I was rather enjoying that 10 minute suit last night! Great stuff!! hehehe I will upload both albums tonight after I get back from work. Also I am working on getting a hold of a 3rd Gunbuster album, a 3cd one called Sound Collection of Gunbuster. Will pop that one up here when I get it too :)
Sirusjr
11-13-2009, 06:28 PM
Dear Sirusjr:
Please stop posting things about four seconds before I'm planning to do it myself. ;)
Yours sincerely,
Person who spent an hour and a half scanning the Tales Of Vesperia booklet last night for no reason
I don't think the one I grabbed included scans so please share. I swear I am not nefariously reading your mind and posting stuff out of spite! ;)
Please stop posting things about four seconds before I'm planning to do it myself. ;)
Yours sincerely,
Person who spent an hour and a half scanning the Tales Of Vesperia booklet last night for no reason
I don't think the one I grabbed included scans so please share. I swear I am not nefariously reading your mind and posting stuff out of spite! ;)
Sirusjr
11-14-2009, 06:12 AM
As requested by Arthierr, the links have been removed.
Besides Lens's compilation that contained a few tracks, I haven't heard ANYTHING by Ron Goodwin! (although I also just downloaded Valhalla). So if you have any other great soundtracks by this master I'd be very excited to hear it! Please post some more soundtracks by this composer if you have them. Thanks!
ABOUT RON GOODWIN:
Ron Goodwin's father was a policeman and he attended Willesden County School and Pinner County Grammar School, in Middlesex. He learned the piano from an early age and studied trumpet in London at the Guildhall School of Music. His first job in music was as copyist and arranger for publishing companies and bands, including some attached to the BBC. Through documentary films he was introduced to music for movies, which he said was "a very good training". He worked as a ghostwriter for Phil Green, Stanley Black, Geraldo and Peter Yorke among others. He later worked as a conductor in recording sessions for popular music artists, including Petula Clark.
In the 1950s he joined Parlophone, and worked alongside George Martin. He accompanied Peter Sellers on his "Goodness Gracious Me" album, and began to broadcast and make records with his Ron Goodwin Concert Orchestra.
Goodwin was guest conductor with orchestras, including the Royal Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the Detroit Symphony Orchestra, and the New Zealand Symphony Orchestra. He usually conducted film music by himself and others, light music, and arrangements of popular music caissons. He also recorded orchestral versions of pop tunes.
Goodwin won three Ivor Novello Awards, including one for lifetime achievement in 1994. He was given honorary Freedom of the City of London.
Goodwin had asthma. He died in 2003 at home having completed conducting Christmas concerts with the Bournemouth Symphony Orchestra.
Besides Lens's compilation that contained a few tracks, I haven't heard ANYTHING by Ron Goodwin! (although I also just downloaded Valhalla). So if you have any other great soundtracks by this master I'd be very excited to hear it! Please post some more soundtracks by this composer if you have them. Thanks!
ABOUT RON GOODWIN:
Ron Goodwin's father was a policeman and he attended Willesden County School and Pinner County Grammar School, in Middlesex. He learned the piano from an early age and studied trumpet in London at the Guildhall School of Music. His first job in music was as copyist and arranger for publishing companies and bands, including some attached to the BBC. Through documentary films he was introduced to music for movies, which he said was "a very good training". He worked as a ghostwriter for Phil Green, Stanley Black, Geraldo and Peter Yorke among others. He later worked as a conductor in recording sessions for popular music artists, including Petula Clark.
In the 1950s he joined Parlophone, and worked alongside George Martin. He accompanied Peter Sellers on his "Goodness Gracious Me" album, and began to broadcast and make records with his Ron Goodwin Concert Orchestra.
Goodwin was guest conductor with orchestras, including the Royal Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the Detroit Symphony Orchestra, and the New Zealand Symphony Orchestra. He usually conducted film music by himself and others, light music, and arrangements of popular music caissons. He also recorded orchestral versions of pop tunes.
Goodwin won three Ivor Novello Awards, including one for lifetime achievement in 1994. He was given honorary Freedom of the City of London.
Goodwin had asthma. He died in 2003 at home having completed conducting Christmas concerts with the Bournemouth Symphony Orchestra.
NaotaM
11-14-2009, 07:21 AM
JRL3001
11-14-2009, 09:35 AM
So here we go, first of the 2 original Gunbuster soundtracks I have. Again, not my rip. Please do enjoy. I will have the second one up in a day or two
Gunbuster Original Soundtrack 1
http://www.sendspace.com/file/octq4f
Gunbuster Original Soundtrack 1
http://www.sendspace.com/file/octq4f
lordjim48
11-14-2009, 09:41 AM
Takemitsu posts great but need password-to burn
tangotreats
11-14-2009, 11:26 PM
Back in June, I reported that Toshihiko Sahashi was scoring Element Hunters, and I mused about the possibility of another Sahashi score on a part with Gundam Seed... And now, look what I have for you wonderful people...
TOSHIHIKO SAHASHI
Element Hunters (Original Soundtrack Vol. 1) 2009
AKA Elementhunters, Eremento Hanta, エレメントハンタ
LAME 3.98.2 V0 / English Track Titles / Scans Included
Part 1: http://uploadmirrors.com/download/0VSWOEBU/TS-EHOST1.part1.rar
Part 2: http://uploadmirrors.com/download/KBVXLZTO/TS-EHOST1.part2.rar
Though Sahashi does have a tendency to repeat himself, I can't help but enjoy the results when he does. This is a typical Sahashi score - there's nothing in here you haven't heard before, but it's still excellent stuff. A splendid mix of styles - including happily predominant orchestra (30 minutes of which is pure, unaugmented, symphonic) through electronics, all the way out to his typical 70s disco-style orchestra plus beat action music... It's all there, and it's great stuff. (Not to mention that wonderful thing; a score which incorporates thematic material from the opening song!)
Volume 2 has yet to be announced, but I expect it won't be long coming. Judging by the first volume, they recorded a bucket-load for Element Hunters... Methinks there will be a lot more good stuff to come.
In the mean time, enjoy - and if you enjoy, buy!
TOSHIHIKO SAHASHI
Element Hunters (Original Soundtrack Vol. 1) 2009
AKA Elementhunters, Eremento Hanta, エレメントハンタ
LAME 3.98.2 V0 / English Track Titles / Scans Included
Part 1: http://uploadmirrors.com/download/0VSWOEBU/TS-EHOST1.part1.rar
Part 2: http://uploadmirrors.com/download/KBVXLZTO/TS-EHOST1.part2.rar
Though Sahashi does have a tendency to repeat himself, I can't help but enjoy the results when he does. This is a typical Sahashi score - there's nothing in here you haven't heard before, but it's still excellent stuff. A splendid mix of styles - including happily predominant orchestra (30 minutes of which is pure, unaugmented, symphonic) through electronics, all the way out to his typical 70s disco-style orchestra plus beat action music... It's all there, and it's great stuff. (Not to mention that wonderful thing; a score which incorporates thematic material from the opening song!)
Volume 2 has yet to be announced, but I expect it won't be long coming. Judging by the first volume, they recorded a bucket-load for Element Hunters... Methinks there will be a lot more good stuff to come.
In the mean time, enjoy - and if you enjoy, buy!
Sirusjr
11-14-2009, 11:43 PM
Wonderful! I always enjoy more Gundam Seed style Sahashi! I really wish anime soundtracks were cheaper though.
tangotreats
11-14-2009, 11:51 PM
Me too... it's absolutely crippling. The CDs are bloody expensive right off the bat... but then you've got to add in import costs. Then it just becomes ridiculous. Sometimes it's worth it though. (Sad fact: This CD came in a bulk order of eight other discs; half of them were great, and the other half I just didn't like, and am now trying to get rid of on eBay... you win some, you lose some...)
(This one was a win.)
:)
(This one was a win.)
:)
Sirusjr
11-15-2009, 05:59 AM
So I've been introduced to a pair of wonderful programs that make tagging something that is in VGMDB super easy.
Let's Tag: http://brinkoftime.net/?p=11
MP3Tag: http://www.mp3tag.de/en/
By now some of you have noticed that the version of Tales of Vesperia The First Strike doesn't have english tags. Some of you may not care. Those of you who do will notice that VGMDB has an entry for this soundtrack.
http://vgmdb.net/album/15894
Once you install both of those programs, you simply go into Let's Tag, copy in the VGMDB url, load up the information, export it to a tag, copy the formatting information, load up MP3 tag, select the files, and paste in the information. The link for Let's Tag above also includes a video with instructions to do all this. This is the perfect pair of programs for those times when a soundtrack leaks before the english tags exist on VGMDB. It is quick and easy and wonderful to have.
Let's Tag: http://brinkoftime.net/?p=11
MP3Tag: http://www.mp3tag.de/en/
By now some of you have noticed that the version of Tales of Vesperia The First Strike doesn't have english tags. Some of you may not care. Those of you who do will notice that VGMDB has an entry for this soundtrack.
http://vgmdb.net/album/15894
Once you install both of those programs, you simply go into Let's Tag, copy in the VGMDB url, load up the information, export it to a tag, copy the formatting information, load up MP3 tag, select the files, and paste in the information. The link for Let's Tag above also includes a video with instructions to do all this. This is the perfect pair of programs for those times when a soundtrack leaks before the english tags exist on VGMDB. It is quick and easy and wonderful to have.
arthierr
11-15-2009, 04:10 PM
A big THANKS for your recent posts, guys!
Maslanka, David
I just listened to the 1st movement right now, and it sounds good. I'll enjoy more of it later tonight. May I suggest you to re-post your Maslanka posts in the Classical thread, because it also belongs.
Gunbuster Original Soundtrack 1
Great! Now for the next one (the one with the symphonic suite)...
009-1 OST by Taku Iwasaki
http://rapidshare.com/files/306763181/009-1_Original_Soundtrack.rar.html
Much appreciated. :)
Tales of Vesperia ~The First Strike~ Animation Soundtrack
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
What a surprise. I didn't know Senju would do this sort of score, but it's good news anyway. I just tried some tracks, and they're quite heavy on taiko drums and similar ethnic percussions. Not really what I expected for a fantasy score, something more fairy-like and purely orchestral would be more appropriate, IMO. Happily, track 4 is precisely like this, then the medieval folk tune in track 5 is ravishing, so this OST seems promising.
TOSHIHIKO SAHASHI
Element Hunters (Original Soundtrack Vol. 1) 2009
AKA Elementhunters, Eremento Hanta, エレメントハンタ
Wow, a new Sahashi for us? You're too generous, kind Sir!
This is a nice one, very tuneful and upbeat like usually with Sahashi. The orchestra is quite small though, and some fake orchestral instruments have been obviously added to compensate the limited instruments number, but it sounds good. As usual I went straight to the orchestral tracks, and the proportion of them is satisfying. A special mention for the "nod" to Conti's Rocky in the track "Comeback". ;)
Maslanka, David
I just listened to the 1st movement right now, and it sounds good. I'll enjoy more of it later tonight. May I suggest you to re-post your Maslanka posts in the Classical thread, because it also belongs.
Gunbuster Original Soundtrack 1
Great! Now for the next one (the one with the symphonic suite)...
009-1 OST by Taku Iwasaki
http://rapidshare.com/files/306763181/009-1_Original_Soundtrack.rar.html
Much appreciated. :)
Tales of Vesperia ~The First Strike~ Animation Soundtrack
Akira Senju
|MP3|VBR|82MB|
|Powerful|Regal|Energetic|Action|
What a surprise. I didn't know Senju would do this sort of score, but it's good news anyway. I just tried some tracks, and they're quite heavy on taiko drums and similar ethnic percussions. Not really what I expected for a fantasy score, something more fairy-like and purely orchestral would be more appropriate, IMO. Happily, track 4 is precisely like this, then the medieval folk tune in track 5 is ravishing, so this OST seems promising.
TOSHIHIKO SAHASHI
Element Hunters (Original Soundtrack Vol. 1) 2009
AKA Elementhunters, Eremento Hanta, エレメントハンタ
Wow, a new Sahashi for us? You're too generous, kind Sir!
This is a nice one, very tuneful and upbeat like usually with Sahashi. The orchestra is quite small though, and some fake orchestral instruments have been obviously added to compensate the limited instruments number, but it sounds good. As usual I went straight to the orchestral tracks, and the proportion of them is satisfying. A special mention for the "nod" to Conti's Rocky in the track "Comeback". ;)
jakob
11-15-2009, 06:18 PM
A big THANKS for your recent posts, guys!
I just listened to the 1st movement right now, and it sounds good. I'll enjoy more of it later tonight. May I suggest you to re-post your Maslanka posts in the Classical thread, because it also belongs.
Done! Good idea.
I just listened to the 1st movement right now, and it sounds good. I'll enjoy more of it later tonight. May I suggest you to re-post your Maslanka posts in the Classical thread, because it also belongs.
Done! Good idea.
arthierr
11-15-2009, 11:24 PM
OST 1 has already been posted, but just to make things exhaustively, here are the 3 OSTs of Ultraman Gaia, by Toshihiko Sahashi. These 3 discs contain quite a bunch of nifty orchestral tracks. Enjoy!
Ultraman Gaia Original Soundtracks
Music composed by Toshihiko Sahashi
MP3 192 kbps
Credits to Bad Wolf
Ultraman Gaia OST Vol.1
http://www.mediafire.com***/?ddwxf2iw0yy
Remove the *** in the url
Ultraman Gaia OST Vol.2
http://www.mediafire.com***/?lafnzjfyfmh
Remove the *** in the url
Ultraman Gaia OST Vol.3
http://www.mediafire.com***/?cuxlxhqdqzn
Remove the *** in the url
Ultraman Gaia Original Soundtracks
Music composed by Toshihiko Sahashi
MP3 192 kbps
Credits to Bad Wolf
Ultraman Gaia OST Vol.1
http://www.mediafire.com***/?ddwxf2iw0yy
Remove the *** in the url
Ultraman Gaia OST Vol.2
http://www.mediafire.com***/?lafnzjfyfmh
Remove the *** in the url
Ultraman Gaia OST Vol.3
http://www.mediafire.com***/?cuxlxhqdqzn
Remove the *** in the url
Sirusjr
11-16-2009, 12:42 AM
Thanks arthierr! I only had the first volume :D
EDIT: looks like a kind soul uploaded a lossless sound collection of Gunbuster!
Thread 71553
I don't know if this is included in the ones posted but just in case I will download it and re-upload in mp3 :D
This is a marvelous 3 CD set. Each CD has 99 tracks each, and includes
all music from the series as well as the radio dramas, out takes, karaoke
songs, and new material. No longer in production and very hard to find.
EDIT: looks like a kind soul uploaded a lossless sound collection of Gunbuster!
Thread 71553
I don't know if this is included in the ones posted but just in case I will download it and re-upload in mp3 :D
This is a marvelous 3 CD set. Each CD has 99 tracks each, and includes
all music from the series as well as the radio dramas, out takes, karaoke
songs, and new material. No longer in production and very hard to find.
tangotreats
11-16-2009, 01:49 AM
[good sense prevails...]
Sanico
11-16-2009, 02:10 AM
So... this morning I woke up with music in my head for the first time in a long time... I wrote it down, and this evening did a rough orchestration... This is what I have so far: http://sharebee.com/f449080f
Is it worth continuing to work on?
[Edit: Yes, I know... the beginning is reminiscent of Dvorak's 9th symphony... not intentionally, but that's the way it came out! ;)]
Yes.
I don't know where the piece will evolve from this point because the sample is too small, but so far so good to me.
Is it worth continuing to work on?
[Edit: Yes, I know... the beginning is reminiscent of Dvorak's 9th symphony... not intentionally, but that's the way it came out! ;)]
Yes.
I don't know where the piece will evolve from this point because the sample is too small, but so far so good to me.
Sirusjr
11-16-2009, 02:14 AM
Seconded. Sounds like a good start.
jakob
11-16-2009, 02:19 AM
I like it, and I think you could go anywhere from there. I don't know how long that idea would be interesting, but it sounds like a great springboard for other ideas.
mverta
11-16-2009, 02:23 AM
Perhaps if there was a bit more, Danny. I'm having a hard time identifying the complete subject.
_Mike
EDIT: By the way, it's always worth pursuing and it's never bad to solicit opinions. You should leave the link up.
_Mike
EDIT: By the way, it's always worth pursuing and it's never bad to solicit opinions. You should leave the link up.
oboejoe92
11-16-2009, 04:09 AM
Does anyone have October and Ghost Train by Eric Whitarce?
Or anything else by him?
Or anything else by him?
jakob
11-16-2009, 04:15 AM
Of his (Eric Whitacre's) choral pieces I have:
Cloudburst
I Thank You God For This Most Amazing Day
Little Tree
Lux Auromque
Sleep
Water Night
When David Heard
I fully recommend Cloudburst, Lux Auromque and especially Sleep. As for other Whitacre pieces (some of which has choral sections) I have:
Ghost Train
Godzilla Eats Las Vegas
Lux Auromque (for Brass Ensemble)
October
Only the Beginning
Sleep (for Concert Band)
Also, to both of you, I'm moving the day after tomorrow, so any requests (if there even are any) will have to wait until I'm settled into my new place, sometime next week. Hopefully though someone else can help you out.
Okay, so I guess I was mistaken when I said someone had posted a bunch of eric whitacre stuff. They only said they had it, and it was in the orchestral action thread. Maybe Dharma, the original poster, might be able to upload them there.
Cloudburst
I Thank You God For This Most Amazing Day
Little Tree
Lux Auromque
Sleep
Water Night
When David Heard
I fully recommend Cloudburst, Lux Auromque and especially Sleep. As for other Whitacre pieces (some of which has choral sections) I have:
Ghost Train
Godzilla Eats Las Vegas
Lux Auromque (for Brass Ensemble)
October
Only the Beginning
Sleep (for Concert Band)
Also, to both of you, I'm moving the day after tomorrow, so any requests (if there even are any) will have to wait until I'm settled into my new place, sometime next week. Hopefully though someone else can help you out.
Okay, so I guess I was mistaken when I said someone had posted a bunch of eric whitacre stuff. They only said they had it, and it was in the orchestral action thread. Maybe Dharma, the original poster, might be able to upload them there.
Sirusjr
11-16-2009, 05:00 AM
Kouhei Tanaka - Sound Collection of GunBuster CD2
|MP3|VBR V-0 Fast|Converted from FLAC|
|Big Thanks to ayanokoji for posting FLAC files!|
http://anonym.to/?http://rapidshare.com/files/307648546/SndCllctnGunBuster_CD2.rar
PSW: smile
1. Prologue M-1
2. Exelion Sinking M-2
3. Older Sister M-3
4. Painful Sorrow M-5
5. Noriko M-6
6. Smith M-7
7. Training Under Fire M-8
8. Jung Freud M-9
9. Decision M-10
10. Combination Practice M-11
11. Start Of Military Operations M-13
12. Eternal Exelion M-14
13. Giant Red Star M-15
14. Duel After School M-16
15. Crisis M-17
16. Beginning The Trip M-19
17. GunBuster M-20
18. Exelion M-21
19. M-22
20. Leaving School M-23
21. Lightning Kick M-24
22. Sadness M-26
23. Requiem Br-4
24. Br-5 25. Br-6-(1)
26. Episode 2 Subtitle Br-6-(2)
27. Episode 1 Subtitle Br-6-(5)
28. Br-6-(14)
29. Br-6-(15)
30. Br-7
31. Unknown Enemy Br-10
32. The Test Of Will Br-11
33. Eyecatch Br-12
34. Coach Br-13
35. Br-14
36. Ep Solo Romance (2)
37. The Science Lecture Song
38. The First Sortie M-28
39. Battlefield M-29
40. "All Warships Departure In Progress" M-30
41. GunBuster Victorious M-31
42. Episode 6 Subtitle M-32
43. The Galaxy Core Attack Fleet
44. Operation Karneades (Calnedius) M-34
45. A Grim Resolution M-35
46. The Final Battle M-36
47. Beyond The River Of Time M-37
48. Invaluable, As Respected
49. Pf Solo Sono 1
50. Pf Bridge Sono 2
51. Symphonic Poem Of GunBuster
From what I understand, this contains music from the first OVA series, some of which is on the other soundtracks. Specifically it also has the Symphonic Poem of GunBuster. The other 2 cds, CD1, and CD3, do NOT contain any score tracks at all so I was able to cut it down to the tracks everyone here will want. I don't know if the cover art is proper but its the nicest looking I found.
|MP3|VBR V-0 Fast|Converted from FLAC|
|Big Thanks to ayanokoji for posting FLAC files!|
http://anonym.to/?http://rapidshare.com/files/307648546/SndCllctnGunBuster_CD2.rar
PSW: smile
1. Prologue M-1
2. Exelion Sinking M-2
3. Older Sister M-3
4. Painful Sorrow M-5
5. Noriko M-6
6. Smith M-7
7. Training Under Fire M-8
8. Jung Freud M-9
9. Decision M-10
10. Combination Practice M-11
11. Start Of Military Operations M-13
12. Eternal Exelion M-14
13. Giant Red Star M-15
14. Duel After School M-16
15. Crisis M-17
16. Beginning The Trip M-19
17. GunBuster M-20
18. Exelion M-21
19. M-22
20. Leaving School M-23
21. Lightning Kick M-24
22. Sadness M-26
23. Requiem Br-4
24. Br-5 25. Br-6-(1)
26. Episode 2 Subtitle Br-6-(2)
27. Episode 1 Subtitle Br-6-(5)
28. Br-6-(14)
29. Br-6-(15)
30. Br-7
31. Unknown Enemy Br-10
32. The Test Of Will Br-11
33. Eyecatch Br-12
34. Coach Br-13
35. Br-14
36. Ep Solo Romance (2)
37. The Science Lecture Song
38. The First Sortie M-28
39. Battlefield M-29
40. "All Warships Departure In Progress" M-30
41. GunBuster Victorious M-31
42. Episode 6 Subtitle M-32
43. The Galaxy Core Attack Fleet
44. Operation Karneades (Calnedius) M-34
45. A Grim Resolution M-35
46. The Final Battle M-36
47. Beyond The River Of Time M-37
48. Invaluable, As Respected
49. Pf Solo Sono 1
50. Pf Bridge Sono 2
51. Symphonic Poem Of GunBuster
From what I understand, this contains music from the first OVA series, some of which is on the other soundtracks. Specifically it also has the Symphonic Poem of GunBuster. The other 2 cds, CD1, and CD3, do NOT contain any score tracks at all so I was able to cut it down to the tracks everyone here will want. I don't know if the cover art is proper but its the nicest looking I found.
Lens of Truth
11-16-2009, 11:36 PM
[good sense prevails...]
I hope it's not too sneaky of me, but I took advantage of Sanico's quote.. and I think it sounds fantastic! Even with the synth it's clear you know your orchestration. Very subtle sonorous support from brass and bassons(?). Beautiful. Yes, there's Dvorak, and a touch of Wagner (0:35-48) - no bad thing at all! I like that there's such tingling potential in the arcs and suspensions. Why can't film scores open in this way? You clearly HAVE TO continue with it :)
I hope it's not too sneaky of me, but I took advantage of Sanico's quote.. and I think it sounds fantastic! Even with the synth it's clear you know your orchestration. Very subtle sonorous support from brass and bassons(?). Beautiful. Yes, there's Dvorak, and a touch of Wagner (0:35-48) - no bad thing at all! I like that there's such tingling potential in the arcs and suspensions. Why can't film scores open in this way? You clearly HAVE TO continue with it :)
JRL3001
11-16-2009, 11:44 PM
Kouhei Tanaka - Sound Collection of GunBuster CD2
|MP3|VBR V-0 Fast|Converted from FLAC|
|Big Thanks to ayanokoji for posting FLAC files!|
http://anonym.to/?http://rapidshare.com/files/307648546/SndCllctnGunBuster_CD2.rar
PSW: smile
From what I understand, this contains music from the first OVA series, some of which is on the other soundtracks. Specifically it also has the Symphonic Poem of GunBuster. The other 2 cds, CD1, and CD3, do NOT contain any score tracks at all so I was able to cut it down to the tracks everyone here will want. I don't know if the cover art is proper but its the nicest looking I found.
Ah looks like you beat me to posting this...! Thats what I get for being out of town a few days. :P Yeah thats the right cover. For those of you who want it, I can post the other 2 cd's when I get home tomorrow? I know I'm the kind of person who wants the entire thing :P
|MP3|VBR V-0 Fast|Converted from FLAC|
|Big Thanks to ayanokoji for posting FLAC files!|
http://anonym.to/?http://rapidshare.com/files/307648546/SndCllctnGunBuster_CD2.rar
PSW: smile
From what I understand, this contains music from the first OVA series, some of which is on the other soundtracks. Specifically it also has the Symphonic Poem of GunBuster. The other 2 cds, CD1, and CD3, do NOT contain any score tracks at all so I was able to cut it down to the tracks everyone here will want. I don't know if the cover art is proper but its the nicest looking I found.
Ah looks like you beat me to posting this...! Thats what I get for being out of town a few days. :P Yeah thats the right cover. For those of you who want it, I can post the other 2 cd's when I get home tomorrow? I know I'm the kind of person who wants the entire thing :P
arthierr
11-16-2009, 11:59 PM
I hope it's not too sneaky of me, but I took advantage of Sanico's quote..
Same here...
Ok, after 5-6 listens, it sounds quite good. Sounds like Dvorak at the beginning, then Horner in lyrical mode (Braveheart, for instance). I personally would have added some harp in the background to make the sound richer, anyway it's very promising.
But it's still too short for me. I need more to judge properly. Please make this piece longer and more developed, and then post it here. You DO have a benevolent and friendly audience, here. :)
Ps: pretty cool to have Mike "Forbidden Warrior" Verta to comment your music, isn't it? ;)
Same here...
Ok, after 5-6 listens, it sounds quite good. Sounds like Dvorak at the beginning, then Horner in lyrical mode (Braveheart, for instance). I personally would have added some harp in the background to make the sound richer, anyway it's very promising.
But it's still too short for me. I need more to judge properly. Please make this piece longer and more developed, and then post it here. You DO have a benevolent and friendly audience, here. :)
Ps: pretty cool to have Mike "Forbidden Warrior" Verta to comment your music, isn't it? ;)
ayanokoji
11-17-2009, 12:16 AM
Ah looks like you beat me to posting this...! Thats what I get for being out of town a few days. :P Yeah thats the right cover. For those of you who want it, I can post the other 2 cd's when I get home tomorrow? I know I'm the kind of person who wants the entire thing :P
actually i beat you both to it :
Thread 71553
i copy/paste it here to save time:
what can i say? this is one of the greatest anime ova series ever made.
many think evangelion is, but eva was no more than this and nadia rehashed as one.
either way, it is flac lossless. it is not on my ipod, so i have no mp3 version, and it would be a lot of extra work to convert and re-tag.
pass is : takaya_noriko
トップをねらえ！響綜覧 －sound collection of gunbuster－ビデオ・サントラ [VICL-40107~9 ][flac]
disc one
<唄のアルバム>
01) アクティブ・ハート
作詞：森浩美 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
02) トライAgain�!
作詞：小倉めぐみ 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
03) トップをねらえ! ～Fly High～
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ
04) いけいけぼくらのガンバスター!!
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：日高のり子、少年少女合唱団みずうみ
05) 翔べ! ガンバスター
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：矢尾一樹
06) 元気でね
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ、川村万梨阿、矢尾一樹、大木民夫、若 本規夫
<音劇のアルバム>
07) いけいけぼくらのガンバスター!! (TVサイズ)
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：日高のり子
08) (ドラマ)大あばれ! 宇宙怪獣ギドドンガス
09) アクティブ・ハート (ビデオサイズ)
作詞：森浩美 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
10) (ドラマ)歌え!! 銀河のはてまでも! (挿入歌)ロックだGo! Go! ガンバスター
作詞：渡辺満里夫・兄弟 作曲・編曲：田中公平 歌：矢尾一樹
11) トライAgain�! (ビデオサイズ)
作詞：小倉めぐみ 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
12) (ラジオドラマ)消えた婚約指輪
<付録のアルバム>
13) 第5話予告 (ビデオ版)
14) 第6話予告 (ビデオ版)
15) キミも音響監督! トップをねらえ! 名台詞大行進1
16) キミも音響監督! トップをねらえ! 名台詞大行進2
17) キミも音響監督! トップをねらえ! 名台詞大行進3
18) キミも音響監督! トップをねらえ! 名台詞大行進4
19) キミも音響監督! トップをねらえ! 名台詞大行進5
20) キミも音響監督! トップをねらえ! 名台詞大行進6
21) キミも音響監督! トップをねらえ! 名台詞大行進7
22) キミも音響監督! トップをねらえ! 名台詞大行進8
23) キミも音響監督! トップをねらえ! 名台詞大行進9
24) キミも音響監督! トップをねらえ! 名台詞大行進10
25) キミも音響監督! トップをねらえ! 名台詞大行進11
26) キミも音響監督! トップをねらえ! 名台詞大行進12
27) キミも音響監督! トップをねらえ! 名台詞大行進13
28) キミも音響監督! トップをねらえ! 名台詞大行進14
29) キミも音響監督! トップをねらえ! 名台詞大行進15
30) キミも音響監督! トップをねらえ! 名台詞大行進16
31) キミも音響監督! トップをねらえ! 名台詞大行進17
32) キミも音響監督! トップをねらえ! 名台詞大行進18
33) キミも音響監督! トップをねらえ! 名台詞大行進19
34) キミも音響監督! トップをねらえ! 名台詞大行進20
35) キミも音響監督! トップをねらえ! 名台詞大行進21
36) キミも音響監督! トップをねらえ! 名台詞大行進22
37) キミも音響監督! トップをねらえ! 名台詞大行進23
38) キミも音響監督! トップをねらえ! 名台詞大行進24
39) キミも音響監督! トップをねらえ! 名台詞大行進25
40) キミも音響監督! トップをねらえ! 名台詞大行進26
41) キミも音響監督! トップをねらえ! 名台詞大行進27
42) キミも音響監督! トップをねらえ! 名台詞大行進28
43) キミも音響監督! トップをねらえ! 名台詞大行進29
44) キミも音響監督! トップをねらえ! 名台詞大行進30
45) キミも音響監督! トップをねらえ! 名台詞大行進31
46) キミも音響監督! トップをねらえ! 名台詞大行進32
47) キミも音響監督! トップをねらえ! 名台詞大行進33
48) キミも音響監督! トップをねらえ! 名台詞大行進34
49) キミも音響監督! トップをねらえ! 名台詞大行進35
50) キミも音響監督! トップをねらえ! 名台詞大行進36
51) キミも音響監督! トップをねらえ! 名台詞大行進37
52) キミも音響監督! トップをねらえ! 名台詞大行進38
53) キミも音響監督! トップをねらえ! 名台詞大行進39
54) キミも音響監督! トップをねらえ! 名台詞大行進40
55) キミも音響監督! トップをねらえ! 名台詞大行進41
56) キミも音響監督! トップをねらえ! 名台詞大行進42
57) キミも音響監督! トップをねらえ! 名台詞大行進43
58) キミも音響監督! トップをねらえ! 名台詞大行進44
59) キミも音響監督! トップをねらえ! 名台詞大行進45
60) キミも音響監督! トップをねらえ! 名台詞大行進46
61) キミも音響監督! トップをねらえ! 名台詞大行進47
62) キミも音響監督! トップをねらえ! 名台詞大行進48
63) キミも音響監督! トップをねらえ! 名台詞大行進49
64) キミも音響監督! トップをねらえ! 名台詞大行進50
65) キミも音響監督! トップをねらえ! 名台詞大行進51
66) キミも音響監督! トップをねらえ! 名台詞大行進52
67) キミも音響監督! トップをねらえ! 名台詞大行進53
68) キミも音響監督! トップをねらえ! 名台詞大行進54
69) キミも音響監督! トップをねらえ! 名台詞大行進55
70) キミも音響監督! トップをねらえ! 名台詞大行進56
71) キミも音響監督! トップをねらえ! 名台詞大行進57
72) キミも音響監督! トップをねらえ! 名台詞大行進58
73) キミも音響監督! トップをねらえ! 名台詞大行進59
74) キミも音響監督! トップをねらえ! 名台詞大行進60
75) キミも音響監督! トップをねらえ! 名台詞大行進61
76) キミも音響監督! トップをねらえ! 名台詞大行進62
77) キミも音響監督! トップをねらえ! 名台詞大行進63
78) キミも音響監督! トップをねらえ! 名台詞大行進64
79) キミも音響監督! トップをねらえ! 名台詞大行進65
80) キミも音響監督! トップをねらえ! 名台詞大行進66
81) キミも音響監督! トップをねらえ! 名台詞大行進67
82) キミも音響監督! トップをねらえ! 名台詞大行進68
83) キミも音響監督! トップをねらえ! 名台詞大行進69
84) キミも音響監督! トップをねらえ! 名台詞大行進70
85) キミも音響監督! トップをねらえ! 名台詞大行進71
86) キミも音響監督! トップをねらえ! 名台詞大行進72
87) キミも音響監督! トップをねらえ! 名台詞大行進73
88) キミも音響監督! トップをねらえ! 名台詞大行進74
89) キミも音響監督! トップをねらえ! 名台詞大行進75
90) キミも音響監督! トップをねらえ! 名台詞大行進76
91) キミも音響監督! トップをねらえ! 名台詞大行進77
92) キミも音響監督! トップをねらえ! 名台詞大行進78
93) キミも音響監督! トップをねらえ! 名台詞大行進79
94) キミも音響監督! トップをねらえ! 名台詞大行進80
95) キミも音響監督! トップをねらえ! 名台詞大行進81
96) キミも音響監督! トップをねらえ! 名台詞大行進82
97) キミも音響監督! トップをねらえ! 名台詞大行進83
98) キミも音響監督! トップをねらえ! 名台詞大行進84
99) キミも音響監督! トップをねらえ! 名台詞大行進85
disc two
<劇曲のアルバム> 第1回錄音分
01) プロローグ
02) エクセリヲン沈没
03) おねえさま
04) 悲哀
05) ノリコ
06) スミス
07) 炎の特訓
08) ユング・フロイト
09) 決意
10) 合同練習
11) 作戦開始
12) 遥かなるエクセリヲン
13) 赤色巨星
14) 放課後の決闘
15) 危機
16) 出発
17) ガンバスター
18) エクセリオン
19) M-22
20) 下校 -新世界より-
21) イナズマキック
22) 悲しみ
23) レクイエム
24) Br-5
25) Br-6-1
26) 第2話サブタイトル Br-6-2
27) 第1話サブタイトル Br-6-5
28) Br-6-14
29) Br-6-15
30) Br-7
31) 未知の敵 Br-10
32) キモだめし Br-11
33) アイキャッチ Br-12
34) コーチ Br-13
35) Br-14
36) Epソロ ロマンス2
37) 科学講座のうた
<劇曲のアルバム> 第2回錄音分
38) 初めての出撃
39) 戦場
40) 全艦発進せよ
41) 勝利のガンバスター
42) 第6話サブタイトル
43) 銀河中心殴り込み艦隊
44) カルネアデス計画
45) 悲愴なる決意
46) 最終決戦
47) 時の河を越えて�
48) 仰げば尊し
49) Pfソロ その1
50) Pfブリッジ その2
<劇曲のアルバム>
51) 交響詩「GUNBUSTER」
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子
<付録のアルバム>
52) キミも音響監督! トップをねらえ! 名台詞大行進86
53) キミも音響監督! トップをねらえ! 名台詞大行進87
54) キミも音響監督! トップをねらえ! 名台詞大行進88
55) キミも音響監督! トップをねらえ! 名台詞大行進89
56) キミも音響監督! トップをねらえ! 名台詞大行進90
57) キミも音響監督! トップをねらえ! 名台詞大行進91
58) キミも音響監督! トップをねらえ! 名台詞大行進92
59) キミも音響監督! トップをねらえ! 名台詞大行進93
60) キミも音響監督! トップをねらえ! 名台詞大行進94
61) キミも音響監督! トップをねらえ! 名台詞大行進95
62) キミも音響監督! トップをねらえ! 名台詞大行進96
63) キミも音響監督! トップをねらえ! 名台詞大行進97
64) キミも音響監督! トップをねらえ! 名台詞大行進98
65) キミも音響監督! トップをねらえ! 名台詞大行進99
66) キミも音響監督! トップをねらえ! 名台詞大行進100
67) キミも音響監督! トップをねらえ! 名台詞大行進101
68) キミも音響監督! トップをねらえ! 名台詞大行進102
69) キミも音響監督! トップをねらえ! 名台詞大行進103
70) キミも音響監督! トップをねらえ! 名台詞大行進104
71) キミも音響監督! トップをねらえ! 名台詞大行進105
72) キミも音響監督! トップをねらえ! 名台詞大行進106
73) キミも音響監督! トップをねらえ! 名台詞大行進107
74) キミも音響監督! トップをねらえ! 名台詞大行進108
75) キミも音響監督! トップをねらえ! 名台詞大行進109
76) キミも音響監督! トップをねらえ! 名台詞大行進110
77) キミも音響監督! トップをねらえ! 名台詞大行進111
78) キミも音響監督! トップをねらえ! 名台詞大行進112
79) キミも音響監督! トップをねらえ! 名台詞大行進113
80) キミも音響監督! トップをねらえ! 名台詞大行進114
81) キミも音響監督! トップをねらえ! 名台詞大行進115
82) キミも音響監督! トップをねらえ! 名台詞大行進116
83) キミも音響監督! トップをねらえ! 名台詞大行進117
84) キミも音響監督! トップをねらえ! 名台詞大行進118
85) キミも音響監督! トップをねらえ! 名台詞大行進119
86) キミも音響監督! トップをねらえ! 名台詞大行進120
87) キミも音響監督! トップをねらえ! 名台詞大行進121
88) キミも音響監督! トップをねらえ! 名台詞大行進122
89) キミも音響監督! トップをねらえ! 名台詞大行進123
90) キミも音響監督! トップをねらえ! 名台詞大行進124
91) キミも音響監督! トップをねらえ! 名台詞大行進125
92) キミも音響監督! トップをねらえ! 名台詞大行進126
93) キミも音響監督! トップをねらえ! 名台詞大行進127
94) キミも音響監督! トップをねらえ! 名台詞大行進128
95) キミも音響監督! トップをねらえ! 名台詞大行進129
96) キミも音響監督! トップをねらえ! 名台詞大行進130
97) キミも音響監督! トップをねらえ! 名台詞大行進131
98) キミも音響監督! トップをねらえ! 名台詞大行進132
99) キミも音響監督! トップをねらえ! 名台詞大行進133
disc three
<新・唄のアルバム>
01) トップをねらえ! ～Fly High～
作詞：冬杜花代子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ
02) 感動! エクセリヲンのマーチ
作詞：岡田斗司夫、庵野秀明 作曲・編曲：田中公平 歌：東京混声合唱団
<新・音劇のアルバム>
03) 友情パワーは無限大! 倒せ、トポロジー・ギャス (挿入歌)トップをねらえ! ～Fly High～ (艦長 & 副長ヴァージョン)
作詞：松宮恭子、庵野秀明 作曲・編曲：田中公平 歌：大木民夫、西村知道
<空唄のアルバム>
04) アクティヴ・ハート (ビデオサイズ カラオケ)
05) トライ・アゲイン�! (ビデオサイズ カラオケ)
06) トップをねらえ! ～Fly High～ (オリジナル・カラオケ)
07) いけいけぼくらのガンバスター!! (TVサイズカラオケ)
08) 翔べ! ガンバスター (1ハーフ カラオケ)
09) 元気でね (オリジナル・カラオケ)
(新・付録のアルバム)
10) トップをねらえ! 予告編集(完全版)0話
11) トップをねらえ! 予告編集(完全版)1話
12) トップをねらえ! 予告編集(完全版)2話
13) トップをねらえ! 予告編集(完全版)3話
14) トップをねらえ! 予告編集(完全版)4話
15) トップをねらえ! 予告編集(完全版)5話
16) トップをねらえ! 予告編集(完全版)6話
17) トップをねらえ! 予告編集(完全版)7話
18) トップをねらえ! 予告編集(完全版)8話
19) トップをねらえ! 予告編集(完全版)9話
20) トップをねらえ! 予告編集(完全版)10話
21) トップをねらえ! 予告編集(完全版)11話
22) トップをねらえ! 予告編集(完全版)12話
23) トップをねらえ! 予告編集(完全版)13話
24) トップをねらえ! 予告編集(完全版)14話
25) トップをねらえ! 予告編集(完全版)15話
26) トップをねらえ! 予告編集(完全版)16話
27) トップをねらえ! 予告編集(完全版)17話
28) トップをねらえ! 予告編集(完全版)18話
29) トップをねらえ! 予告編集(完全版)19話
30) トップをねらえ! 予告編集(完全版)20話
31) トップをねらえ! 予告編集(完全版)21話
32) トップをねらえ! 予告編集(完全版)22話
33) トップをねらえ! 予告編集(完全版)23話
34) トップをねらえ! 予告編集(完全版)24話
35) トップをねらえ! 予告編集(完全版)25話
36) トップをねらえ! おしゃべりカセット
37) キミも音響監督! トップをねらえ! 名台詞大行進134
38) キミも音響監督! トップをねらえ! 名台詞大行進135
39) キミも音響監督! トップをねらえ! 名台詞大行進136
40) キミも音響監督! トップをねらえ! 名台詞大行進137
41) キミも音響監督! トップをねらえ! 名台詞大行進138
42) キミも音響監督! トップをねらえ! 名台詞大行進139
43) キミも音響監督! トップをねらえ! 名台詞大行進140
44) キミも音響監督! トップをねらえ! 名台詞大行進141
45) キミも音響監督! トップをねらえ! 名台詞大行進142
46) キミも音響監督! トップをねらえ! 名台詞大行進143
47) キミも音響監督! トップをねらえ! 名台詞大行進144
48) キミも音響監督! トップをねらえ! 名台詞大行進145
49) キミも音響監督! トップをねらえ! 名台詞大行進146
50) キミも音響監督! トップをねらえ! 名台詞大行進147
51) キミも音響監督! トップをねらえ! 名台詞大行進148
52) キミも音響監督! トップをねらえ! 名台詞大行進149
53) キミも音響監督! トップをねらえ! 名台詞大行進150
54) キミも音響監督! トップをねらえ! 名台詞大行進151
55) キミも音響監督! トップをねらえ! 名台詞大行進152
56) キミも音響監督! トップをねらえ! 名台詞大行進153
57) キミも音響監督! トップをねらえ! 名台詞大行進154
58) キミも音響監督! トップをねらえ! 名台詞大行進155
59) キミも音響監督! トップをねらえ! 名台詞大行進156
60) キミも音響監督! トップをねらえ! 名台詞大行進157
61) キミも音響監督! トップをねらえ! 名台詞大行進158
62) キミも音響監督! トップをねらえ! 名台詞大行進159
63) キミも音響監督! トップをねらえ! 名台詞大行進160
64) キミも音響監督! トップをねらえ! 名台詞大行進161
65) キミも音響監督! トップをねらえ! 名台詞大行進162
66) キミも音響監督! トップをねらえ! 名台詞大行進163
67) キミも音響監督! トップをねらえ! 名台詞大行進164
68) キミも音響監督! トップをねらえ! 名台詞大行進165
69) キミも音響監督! トップをねらえ! 名台詞大行進166
70) キミも音響監督! トップをねらえ! 名台詞大行進167
71) キミも音響監督! トップをねらえ! 名台詞大行進168
72) キミも音響監督! トップをねらえ! 名台詞大行進169
73) キミも音響監督! トップをねらえ! 名台詞大行進170
74) キミも音響監督! トップをねらえ! 名台詞大行進171
75) キミも音響監督! トップをねらえ! 名台詞大行進172
76) キミも音響監督! トップをねらえ! 名台詞大行進173
77) キミも音響監督! トップをねらえ! 名台詞大行進174
78) キミも音響監督! トップをねらえ! 名台詞大行進175
79) キミも音響監督! トップをねらえ! 名台詞大行進176
80) キミも音響監督! トップをねらえ! 名台詞大行進177
81) キミも音響監督! トップをねらえ! 名台詞大行進178
82) キミも音響監督! トップをねらえ! 名台詞大行進179
83) キミも音響監督! トップをねらえ! 名台詞大行進180
84) キミも音響監督! トップをねらえ! 名台詞大行進181
85) キミも音響監督! トップをねらえ! 名台詞大行進182
86) キミも音響監督! トップをねらえ! 名台詞大行進183
87) キミも音響監督! トップをねらえ! 名台詞大行進184
88) キミも音響監督! トップをねらえ! 名台詞大行進185
89) キミも音響監督! トップをねらえ! 名台詞大行進186
90) キミも音響監督! トップをねらえ! 名台詞大行進187
91) キミも音響監督! トップをねらえ! 名台詞大行進188
92) キミも音響監督! トップをねらえ! 名台詞大行進189
93) キミも音響監督! トップをねらえ! 名台詞大行進190
94) キミも音響監督! トップをねらえ! 名台詞大行進191
95) キミも音響監督! トップをねらえ! 名台詞大行進192
96) キミも音響監督! トップをねらえ! 名台詞大行進193
97) キミも音響監督! トップをねらえ! 名台詞大行進194
98) キミも音響監督! トップをねらえ! 名台詞大行進195
99) キミも音響監督! トップをねらえ! 名台詞大行進196
part : |1 (http://www.megaupload.com/?d=33RXHLH6)|2 (http://www.megaupload.com/?d=7M86IW83)|3 (http://www.megaupload.com/?d=FLHKSVLB)|4 (http://www.megaupload.com/?d=E4R7P4HG)|5 (http://www.megaupload.com/?d=85BO25HG)|
((300meg*4)+177meg)= 1.34gb
actually i beat you both to it :
Thread 71553
i copy/paste it here to save time:
what can i say? this is one of the greatest anime ova series ever made.
many think evangelion is, but eva was no more than this and nadia rehashed as one.
either way, it is flac lossless. it is not on my ipod, so i have no mp3 version, and it would be a lot of extra work to convert and re-tag.
pass is : takaya_noriko
トップをねらえ！響綜覧 －sound collection of gunbuster－ビデオ・サントラ [VICL-40107~9 ][flac]
disc one
<唄のアルバム>
01) アクティブ・ハート
作詞：森浩美 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
02) トライAgain�!
作詞：小倉めぐみ 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
03) トップをねらえ! ～Fly High～
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ
04) いけいけぼくらのガンバスター!!
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：日高のり子、少年少女合唱団みずうみ
05) 翔べ! ガンバスター
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：矢尾一樹
06) 元気でね
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ、川村万梨阿、矢尾一樹、大木民夫、若 本規夫
<音劇のアルバム>
07) いけいけぼくらのガンバスター!! (TVサイズ)
作詞：山口宏、庵野秀明 作曲・編曲：田中公平 歌：日高のり子
08) (ドラマ)大あばれ! 宇宙怪獣ギドドンガス
09) アクティブ・ハート (ビデオサイズ)
作詞：森浩美 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
10) (ドラマ)歌え!! 銀河のはてまでも! (挿入歌)ロックだGo! Go! ガンバスター
作詞：渡辺満里夫・兄弟 作曲・編曲：田中公平 歌：矢尾一樹
11) トライAgain�! (ビデオサイズ)
作詞：小倉めぐみ 作曲：西木栄二 編曲：船山基紀 歌：酒井法子
12) (ラジオドラマ)消えた婚約指輪
<付録のアルバム>
13) 第5話予告 (ビデオ版)
14) 第6話予告 (ビデオ版)
15) キミも音響監督! トップをねらえ! 名台詞大行進1
16) キミも音響監督! トップをねらえ! 名台詞大行進2
17) キミも音響監督! トップをねらえ! 名台詞大行進3
18) キミも音響監督! トップをねらえ! 名台詞大行進4
19) キミも音響監督! トップをねらえ! 名台詞大行進5
20) キミも音響監督! トップをねらえ! 名台詞大行進6
21) キミも音響監督! トップをねらえ! 名台詞大行進7
22) キミも音響監督! トップをねらえ! 名台詞大行進8
23) キミも音響監督! トップをねらえ! 名台詞大行進9
24) キミも音響監督! トップをねらえ! 名台詞大行進10
25) キミも音響監督! トップをねらえ! 名台詞大行進11
26) キミも音響監督! トップをねらえ! 名台詞大行進12
27) キミも音響監督! トップをねらえ! 名台詞大行進13
28) キミも音響監督! トップをねらえ! 名台詞大行進14
29) キミも音響監督! トップをねらえ! 名台詞大行進15
30) キミも音響監督! トップをねらえ! 名台詞大行進16
31) キミも音響監督! トップをねらえ! 名台詞大行進17
32) キミも音響監督! トップをねらえ! 名台詞大行進18
33) キミも音響監督! トップをねらえ! 名台詞大行進19
34) キミも音響監督! トップをねらえ! 名台詞大行進20
35) キミも音響監督! トップをねらえ! 名台詞大行進21
36) キミも音響監督! トップをねらえ! 名台詞大行進22
37) キミも音響監督! トップをねらえ! 名台詞大行進23
38) キミも音響監督! トップをねらえ! 名台詞大行進24
39) キミも音響監督! トップをねらえ! 名台詞大行進25
40) キミも音響監督! トップをねらえ! 名台詞大行進26
41) キミも音響監督! トップをねらえ! 名台詞大行進27
42) キミも音響監督! トップをねらえ! 名台詞大行進28
43) キミも音響監督! トップをねらえ! 名台詞大行進29
44) キミも音響監督! トップをねらえ! 名台詞大行進30
45) キミも音響監督! トップをねらえ! 名台詞大行進31
46) キミも音響監督! トップをねらえ! 名台詞大行進32
47) キミも音響監督! トップをねらえ! 名台詞大行進33
48) キミも音響監督! トップをねらえ! 名台詞大行進34
49) キミも音響監督! トップをねらえ! 名台詞大行進35
50) キミも音響監督! トップをねらえ! 名台詞大行進36
51) キミも音響監督! トップをねらえ! 名台詞大行進37
52) キミも音響監督! トップをねらえ! 名台詞大行進38
53) キミも音響監督! トップをねらえ! 名台詞大行進39
54) キミも音響監督! トップをねらえ! 名台詞大行進40
55) キミも音響監督! トップをねらえ! 名台詞大行進41
56) キミも音響監督! トップをねらえ! 名台詞大行進42
57) キミも音響監督! トップをねらえ! 名台詞大行進43
58) キミも音響監督! トップをねらえ! 名台詞大行進44
59) キミも音響監督! トップをねらえ! 名台詞大行進45
60) キミも音響監督! トップをねらえ! 名台詞大行進46
61) キミも音響監督! トップをねらえ! 名台詞大行進47
62) キミも音響監督! トップをねらえ! 名台詞大行進48
63) キミも音響監督! トップをねらえ! 名台詞大行進49
64) キミも音響監督! トップをねらえ! 名台詞大行進50
65) キミも音響監督! トップをねらえ! 名台詞大行進51
66) キミも音響監督! トップをねらえ! 名台詞大行進52
67) キミも音響監督! トップをねらえ! 名台詞大行進53
68) キミも音響監督! トップをねらえ! 名台詞大行進54
69) キミも音響監督! トップをねらえ! 名台詞大行進55
70) キミも音響監督! トップをねらえ! 名台詞大行進56
71) キミも音響監督! トップをねらえ! 名台詞大行進57
72) キミも音響監督! トップをねらえ! 名台詞大行進58
73) キミも音響監督! トップをねらえ! 名台詞大行進59
74) キミも音響監督! トップをねらえ! 名台詞大行進60
75) キミも音響監督! トップをねらえ! 名台詞大行進61
76) キミも音響監督! トップをねらえ! 名台詞大行進62
77) キミも音響監督! トップをねらえ! 名台詞大行進63
78) キミも音響監督! トップをねらえ! 名台詞大行進64
79) キミも音響監督! トップをねらえ! 名台詞大行進65
80) キミも音響監督! トップをねらえ! 名台詞大行進66
81) キミも音響監督! トップをねらえ! 名台詞大行進67
82) キミも音響監督! トップをねらえ! 名台詞大行進68
83) キミも音響監督! トップをねらえ! 名台詞大行進69
84) キミも音響監督! トップをねらえ! 名台詞大行進70
85) キミも音響監督! トップをねらえ! 名台詞大行進71
86) キミも音響監督! トップをねらえ! 名台詞大行進72
87) キミも音響監督! トップをねらえ! 名台詞大行進73
88) キミも音響監督! トップをねらえ! 名台詞大行進74
89) キミも音響監督! トップをねらえ! 名台詞大行進75
90) キミも音響監督! トップをねらえ! 名台詞大行進76
91) キミも音響監督! トップをねらえ! 名台詞大行進77
92) キミも音響監督! トップをねらえ! 名台詞大行進78
93) キミも音響監督! トップをねらえ! 名台詞大行進79
94) キミも音響監督! トップをねらえ! 名台詞大行進80
95) キミも音響監督! トップをねらえ! 名台詞大行進81
96) キミも音響監督! トップをねらえ! 名台詞大行進82
97) キミも音響監督! トップをねらえ! 名台詞大行進83
98) キミも音響監督! トップをねらえ! 名台詞大行進84
99) キミも音響監督! トップをねらえ! 名台詞大行進85
disc two
<劇曲のアルバム> 第1回錄音分
01) プロローグ
02) エクセリヲン沈没
03) おねえさま
04) 悲哀
05) ノリコ
06) スミス
07) 炎の特訓
08) ユング・フロイト
09) 決意
10) 合同練習
11) 作戦開始
12) 遥かなるエクセリヲン
13) 赤色巨星
14) 放課後の決闘
15) 危機
16) 出発
17) ガンバスター
18) エクセリオン
19) M-22
20) 下校 -新世界より-
21) イナズマキック
22) 悲しみ
23) レクイエム
24) Br-5
25) Br-6-1
26) 第2話サブタイトル Br-6-2
27) 第1話サブタイトル Br-6-5
28) Br-6-14
29) Br-6-15
30) Br-7
31) 未知の敵 Br-10
32) キモだめし Br-11
33) アイキャッチ Br-12
34) コーチ Br-13
35) Br-14
36) Epソロ ロマンス2
37) 科学講座のうた
<劇曲のアルバム> 第2回錄音分
38) 初めての出撃
39) 戦場
40) 全艦発進せよ
41) 勝利のガンバスター
42) 第6話サブタイトル
43) 銀河中心殴り込み艦隊
44) カルネアデス計画
45) 悲愴なる決意
46) 最終決戦
47) 時の河を越えて�
48) 仰げば尊し
49) Pfソロ その1
50) Pfブリッジ その2
<劇曲のアルバム>
51) 交響詩「GUNBUSTER」
作詞：松宮恭子 作曲・編曲：田中公平 歌：日高のり子
<付録のアルバム>
52) キミも音響監督! トップをねらえ! 名台詞大行進86
53) キミも音響監督! トップをねらえ! 名台詞大行進87
54) キミも音響監督! トップをねらえ! 名台詞大行進88
55) キミも音響監督! トップをねらえ! 名台詞大行進89
56) キミも音響監督! トップをねらえ! 名台詞大行進90
57) キミも音響監督! トップをねらえ! 名台詞大行進91
58) キミも音響監督! トップをねらえ! 名台詞大行進92
59) キミも音響監督! トップをねらえ! 名台詞大行進93
60) キミも音響監督! トップをねらえ! 名台詞大行進94
61) キミも音響監督! トップをねらえ! 名台詞大行進95
62) キミも音響監督! トップをねらえ! 名台詞大行進96
63) キミも音響監督! トップをねらえ! 名台詞大行進97
64) キミも音響監督! トップをねらえ! 名台詞大行進98
65) キミも音響監督! トップをねらえ! 名台詞大行進99
66) キミも音響監督! トップをねらえ! 名台詞大行進100
67) キミも音響監督! トップをねらえ! 名台詞大行進101
68) キミも音響監督! トップをねらえ! 名台詞大行進102
69) キミも音響監督! トップをねらえ! 名台詞大行進103
70) キミも音響監督! トップをねらえ! 名台詞大行進104
71) キミも音響監督! トップをねらえ! 名台詞大行進105
72) キミも音響監督! トップをねらえ! 名台詞大行進106
73) キミも音響監督! トップをねらえ! 名台詞大行進107
74) キミも音響監督! トップをねらえ! 名台詞大行進108
75) キミも音響監督! トップをねらえ! 名台詞大行進109
76) キミも音響監督! トップをねらえ! 名台詞大行進110
77) キミも音響監督! トップをねらえ! 名台詞大行進111
78) キミも音響監督! トップをねらえ! 名台詞大行進112
79) キミも音響監督! トップをねらえ! 名台詞大行進113
80) キミも音響監督! トップをねらえ! 名台詞大行進114
81) キミも音響監督! トップをねらえ! 名台詞大行進115
82) キミも音響監督! トップをねらえ! 名台詞大行進116
83) キミも音響監督! トップをねらえ! 名台詞大行進117
84) キミも音響監督! トップをねらえ! 名台詞大行進118
85) キミも音響監督! トップをねらえ! 名台詞大行進119
86) キミも音響監督! トップをねらえ! 名台詞大行進120
87) キミも音響監督! トップをねらえ! 名台詞大行進121
88) キミも音響監督! トップをねらえ! 名台詞大行進122
89) キミも音響監督! トップをねらえ! 名台詞大行進123
90) キミも音響監督! トップをねらえ! 名台詞大行進124
91) キミも音響監督! トップをねらえ! 名台詞大行進125
92) キミも音響監督! トップをねらえ! 名台詞大行進126
93) キミも音響監督! トップをねらえ! 名台詞大行進127
94) キミも音響監督! トップをねらえ! 名台詞大行進128
95) キミも音響監督! トップをねらえ! 名台詞大行進129
96) キミも音響監督! トップをねらえ! 名台詞大行進130
97) キミも音響監督! トップをねらえ! 名台詞大行進131
98) キミも音響監督! トップをねらえ! 名台詞大行進132
99) キミも音響監督! トップをねらえ! 名台詞大行進133
disc three
<新・唄のアルバム>
01) トップをねらえ! ～Fly High～
作詞：冬杜花代子 作曲・編曲：田中公平 歌：日高のり子、佐久間レイ
02) 感動! エクセリヲンのマーチ
作詞：岡田斗司夫、庵野秀明 作曲・編曲：田中公平 歌：東京混声合唱団
<新・音劇のアルバム>
03) 友情パワーは無限大! 倒せ、トポロジー・ギャス (挿入歌)トップをねらえ! ～Fly High～ (艦長 & 副長ヴァージョン)
作詞：松宮恭子、庵野秀明 作曲・編曲：田中公平 歌：大木民夫、西村知道
<空唄のアルバム>
04) アクティヴ・ハート (ビデオサイズ カラオケ)
05) トライ・アゲイン�! (ビデオサイズ カラオケ)
06) トップをねらえ! ～Fly High～ (オリジナル・カラオケ)
07) いけいけぼくらのガンバスター!! (TVサイズカラオケ)
08) 翔べ! ガンバスター (1ハーフ カラオケ)
09) 元気でね (オリジナル・カラオケ)
(新・付録のアルバム)
10) トップをねらえ! 予告編集(完全版)0話
11) トップをねらえ! 予告編集(完全版)1話
12) トップをねらえ! 予告編集(完全版)2話
13) トップをねらえ! 予告編集(完全版)3話
14) トップをねらえ! 予告編集(完全版)4話
15) トップをねらえ! 予告編集(完全版)5話
16) トップをねらえ! 予告編集(完全版)6話
17) トップをねらえ! 予告編集(完全版)7話
18) トップをねらえ! 予告編集(完全版)8話
19) トップをねらえ! 予告編集(完全版)9話
20) トップをねらえ! 予告編集(完全版)10話
21) トップをねらえ! 予告編集(完全版)11話
22) トップをねらえ! 予告編集(完全版)12話
23) トップをねらえ! 予告編集(完全版)13話
24) トップをねらえ! 予告編集(完全版)14話
25) トップをねらえ! 予告編集(完全版)15話
26) トップをねらえ! 予告編集(完全版)16話
27) トップをねらえ! 予告編集(完全版)17話
28) トップをねらえ! 予告編集(完全版)18話
29) トップをねらえ! 予告編集(完全版)19話
30) トップをねらえ! 予告編集(完全版)20話
31) トップをねらえ! 予告編集(完全版)21話
32) トップをねらえ! 予告編集(完全版)22話
33) トップをねらえ! 予告編集(完全版)23話
34) トップをねらえ! 予告編集(完全版)24話
35) トップをねらえ! 予告編集(完全版)25話
36) トップをねらえ! おしゃべりカセット
37) キミも音響監督! トップをねらえ! 名台詞大行進134
38) キミも音響監督! トップをねらえ! 名台詞大行進135
39) キミも音響監督! トップをねらえ! 名台詞大行進136
40) キミも音響監督! トップをねらえ! 名台詞大行進137
41) キミも音響監督! トップをねらえ! 名台詞大行進138
42) キミも音響監督! トップをねらえ! 名台詞大行進139
43) キミも音響監督! トップをねらえ! 名台詞大行進140
44) キミも音響監督! トップをねらえ! 名台詞大行進141
45) キミも音響監督! トップをねらえ! 名台詞大行進142
46) キミも音響監督! トップをねらえ! 名台詞大行進143
47) キミも音響監督! トップをねらえ! 名台詞大行進144
48) キミも音響監督! トップをねらえ! 名台詞大行進145
49) キミも音響監督! トップをねらえ! 名台詞大行進146
50) キミも音響監督! トップをねらえ! 名台詞大行進147
51) キミも音響監督! トップをねらえ! 名台詞大行進148
52) キミも音響監督! トップをねらえ! 名台詞大行進149
53) キミも音響監督! トップをねらえ! 名台詞大行進150
54) キミも音響監督! トップをねらえ! 名台詞大行進151
55) キミも音響監督! トップをねらえ! 名台詞大行進152
56) キミも音響監督! トップをねらえ! 名台詞大行進153
57) キミも音響監督! トップをねらえ! 名台詞大行進154
58) キミも音響監督! トップをねらえ! 名台詞大行進155
59) キミも音響監督! トップをねらえ! 名台詞大行進156
60) キミも音響監督! トップをねらえ! 名台詞大行進157
61) キミも音響監督! トップをねらえ! 名台詞大行進158
62) キミも音響監督! トップをねらえ! 名台詞大行進159
63) キミも音響監督! トップをねらえ! 名台詞大行進160
64) キミも音響監督! トップをねらえ! 名台詞大行進161
65) キミも音響監督! トップをねらえ! 名台詞大行進162
66) キミも音響監督! トップをねらえ! 名台詞大行進163
67) キミも音響監督! トップをねらえ! 名台詞大行進164
68) キミも音響監督! トップをねらえ! 名台詞大行進165
69) キミも音響監督! トップをねらえ! 名台詞大行進166
70) キミも音響監督! トップをねらえ! 名台詞大行進167
71) キミも音響監督! トップをねらえ! 名台詞大行進168
72) キミも音響監督! トップをねらえ! 名台詞大行進169
73) キミも音響監督! トップをねらえ! 名台詞大行進170
74) キミも音響監督! トップをねらえ! 名台詞大行進171
75) キミも音響監督! トップをねらえ! 名台詞大行進172
76) キミも音響監督! トップをねらえ! 名台詞大行進173
77) キミも音響監督! トップをねらえ! 名台詞大行進174
78) キミも音響監督! トップをねらえ! 名台詞大行進175
79) キミも音響監督! トップをねらえ! 名台詞大行進176
80) キミも音響監督! トップをねらえ! 名台詞大行進177
81) キミも音響監督! トップをねらえ! 名台詞大行進178
82) キミも音響監督! トップをねらえ! 名台詞大行進179
83) キミも音響監督! トップをねらえ! 名台詞大行進180
84) キミも音響監督! トップをねらえ! 名台詞大行進181
85) キミも音響監督! トップをねらえ! 名台詞大行進182
86) キミも音響監督! トップをねらえ! 名台詞大行進183
87) キミも音響監督! トップをねらえ! 名台詞大行進184
88) キミも音響監督! トップをねらえ! 名台詞大行進185
89) キミも音響監督! トップをねらえ! 名台詞大行進186
90) キミも音響監督! トップをねらえ! 名台詞大行進187
91) キミも音響監督! トップをねらえ! 名台詞大行進188
92) キミも音響監督! トップをねらえ! 名台詞大行進189
93) キミも音響監督! トップをねらえ! 名台詞大行進190
94) キミも音響監督! トップをねらえ! 名台詞大行進191
95) キミも音響監督! トップをねらえ! 名台詞大行進192
96) キミも音響監督! トップをねらえ! 名台詞大行進193
97) キミも音響監督! トップをねらえ! 名台詞大行進194
98) キミも音響監督! トップをねらえ! 名台詞大行進195
99) キミも音響監督! トップをねらえ! 名台詞大行進196
part : |1 (http://www.megaupload.com/?d=33RXHLH6)|2 (http://www.megaupload.com/?d=7M86IW83)|3 (http://www.megaupload.com/?d=FLHKSVLB)|4 (http://www.megaupload.com/?d=E4R7P4HG)|5 (http://www.megaupload.com/?d=85BO25HG)|
((300meg*4)+177meg)= 1.34gb
Sirusjr
11-17-2009, 03:01 AM
Of course! I credited you in my post :) Still your timing is awesome.
ayanokoji
11-17-2009, 03:44 AM
Of course! I credited you in my post :) Still your timing is awesome.
oh. big green letters too.
i feel stupid.
oh. big green letters too.
i feel stupid.
JRL3001
11-18-2009, 09:21 AM
oooohh! so I am very excited! my Ninja Resurrection CD got here today! My very first Amano CD! It's a horribly hard choice what to do now...listen to it..or watch my new star trek blueray...O.o
Another Mad Dancer
11-20-2009, 07:07 AM
I didn't post this here earlier because I felt that it didn't really belong to this thread(this being the BIG ORCHESTRAL thread; this work is to be performed by a chamber ensemble, chorus and soloist) but a couple of people told me that it might fit in here so what the hell:
Richard Einhorn Voices of Light; THE musical companion to Dreyer's cult film Passion of Joan D'Arc
Get it here:
Thread 71256
Also; the pass is:
superkickasspass
Also, I would like to thank the kind anon /b/rother at 4chan who uploaded it first. Without him this upload wouldn't have happened.
Richard Einhorn Voices of Light; THE musical companion to Dreyer's cult film Passion of Joan D'Arc
Get it here:
Thread 71256
Also; the pass is:
superkickasspass
Also, I would like to thank the kind anon /b/rother at 4chan who uploaded it first. Without him this upload wouldn't have happened.
AKOOM55
11-22-2009, 04:54 AM
Hi there ..
Does anyone have a soundtracks for italian movie "La maja desnuda "1959 by Angelo F. Lavagnino i'm looking for it for a long time but Unfortunately don't found this soundtracks for download ...Any help is appreciated ....
Does anyone have a soundtracks for italian movie "La maja desnuda "1959 by Angelo F. Lavagnino i'm looking for it for a long time but Unfortunately don't found this soundtracks for download ...Any help is appreciated ....
Lens of Truth
11-22-2009, 03:44 PM
Here’s a little mystery track for you. It’s a piece by Jerry Goldsmith from one of his 90’s scores (that, for reasons of propriety, shall remain nameless ;)). It was left unused in the film and only appears on one of the bootleg releases, simply titled ‘alternate session cue’. What makes it so intriguing is that, far from being an off-cut, it’s almost a window into a completely different score. I think you’ll agree there’s a rare sense of symphonic self-containment and, even more curiously, only the most oblique glances toward a few motifs from the rest of the score. I’ve heard that the originally composed finale had to be completely redone after last minute changes and a reshoot of the final sequence – so perhaps that’s what we have here?
An opening of warm, openhearted lyricism that could’ve come from Rudy, shifts gears into a beguiling scherzo-like set of variations, brought to a climax in an exultant, Haydnesque coda. There’s real verve and elegance here, even delicacy. The question remains, why does it stand apart so significantly from the leaner, more militaristic sound deployed elsewhere? Could it be Jerry’s ‘first thoughts’ before seeing a completed edit (akin to an image album piece), before themes had solidified? I wonder too if it might have been written as elaborate source music for an abandoned fantasy sequence (like the cartoon music in Twilight Zone: The Movie).
Anyway, enjoy. You’ll want to listen again as soon it’s finished, I guarantee it!
MP3-V0
http://rapidshare.com/files/310617510/10_Jerry_Goldsmith_-_Apotheosis.mp3
An opening of warm, openhearted lyricism that could’ve come from Rudy, shifts gears into a beguiling scherzo-like set of variations, brought to a climax in an exultant, Haydnesque coda. There’s real verve and elegance here, even delicacy. The question remains, why does it stand apart so significantly from the leaner, more militaristic sound deployed elsewhere? Could it be Jerry’s ‘first thoughts’ before seeing a completed edit (akin to an image album piece), before themes had solidified? I wonder too if it might have been written as elaborate source music for an abandoned fantasy sequence (like the cartoon music in Twilight Zone: The Movie).
Anyway, enjoy. You’ll want to listen again as soon it’s finished, I guarantee it!
MP3-V0
http://rapidshare.com/files/310617510/10_Jerry_Goldsmith_-_Apotheosis.mp3
Sirusjr
11-22-2009, 07:45 PM
So guys I've recently downloaded 43 or so Ennio Morricone albums. I thought at first I would post them all but then decided it would be best to return to the roots of this forum and post samplers first! I will do at least 4 packs with 10 tracks each. Included will be what I believe are the most melodic and/or orchestral tracks on various albums. In some cases (like U-Turn) there are only a few decent tracks and in others (El Greco/Giordano Bruno) there are fantastic entire albums of lush music. In due time I will post the ones that are lush and worthwhile but I have to of course listen to them first to make sure :)
Ennio Morricone Sampler Pack 1
|MP3|VBR V-0 Fast|
Format: Album - Track Name - Track Number
Chi L'ha Vista Moire - Chi L'ha Vista Moire - Track 1
El Greco - Exultate Deo - Track 1
I Malamondo - L'Ultima Volta - Track 3
Lady Cailiph/La Califfa - Le Donne Al Fiume - Track 4
Revolver - Quasi Un Vivaldi - Track 4
The Antichrist - La Luce - Track 15
Giordano Bruno - Giordano Bruno - Track 17
U Turn - Old Family Souvenirs - Track 20
La Tarantola Dal Ventre Nero - L'Abbraccio Caldo Della Tarantola - Track 22
http://anonym.to/?http://uploadmirrors.com/download/MYBPZPDR/Morricone Sampler 1.rar
PSW: smile
Ennio Morricone Sampler Pack 1
|MP3|VBR V-0 Fast|
Format: Album - Track Name - Track Number
Chi L'ha Vista Moire - Chi L'ha Vista Moire - Track 1
El Greco - Exultate Deo - Track 1
I Malamondo - L'Ultima Volta - Track 3
Lady Cailiph/La Califfa - Le Donne Al Fiume - Track 4
Revolver - Quasi Un Vivaldi - Track 4
The Antichrist - La Luce - Track 15
Giordano Bruno - Giordano Bruno - Track 17
U Turn - Old Family Souvenirs - Track 20
La Tarantola Dal Ventre Nero - L'Abbraccio Caldo Della Tarantola - Track 22
http://anonym.to/?http://uploadmirrors.com/download/MYBPZPDR/Morricone Sampler 1.rar
PSW: smile
Argo1naut
11-23-2009, 12:57 AM
FSM support.
NotSpecial
11-23-2009, 04:37 PM
This was the first upload I made to ffshrine, this is Sola Original Soundtrack by Hitoshi Fujima/Elements Garden (his alias that he uses for more risque work AFAIK). Sola's anime adaptation isn't risque though the source material apparently is, which has caused some confusion as to the name the composer operated under.
A brisk and pleasant OST, filled with piano and violin solos and what I believe to be a shamisen. There is some techno and electric guitar work on action-oriented pieces. The tracks are generally quite short, most clocking in at the 1:30 mark though there's a couple that break for 2 minutes.
http://www.megaupload.com/?d=D915JPQF
A brisk and pleasant OST, filled with piano and violin solos and what I believe to be a shamisen. There is some techno and electric guitar work on action-oriented pieces. The tracks are generally quite short, most clocking in at the 1:30 mark though there's a couple that break for 2 minutes.
http://www.megaupload.com/?d=D915JPQF
herbaciak
11-23-2009, 07:10 PM
I've got for U quite new release (so if I should remove the link, or something like that, then tell me). It's from movie Red Canvas. The movie is aboutt MMA or something like that, but the score is (which is rather surprising, taking the genre) fully orchestral. And what a piece of music it is! It's dark, dramatic, raw, yet full of power, I would even say that it's almost brutal. Yes, I like it;).
Info from screenarchives:
James Peterson's score for The Red Canvas will blow fans of big, orchestral movie music away! A rarity in modern film music, this is a score that is inspired by the legendary Mikl�s R�zsa – Peterson masterfully writes very maturely for orchestra, with beautiful motifs, themes and counterpoint! Written for large orchestra with an emphasis on brass (eight french horns, six trombones, four trumpets, two tuba) and a large string section (60 pieces), the music is definitely a musical adrenaline fest (the +11 minute 'Ballet for Brawlers' is astonishing) - but the score never loses its focus on emotion. As a bonus, this CD (which is over 66 minutes) features Peterson's eight part concert work 'Moving Images Suite', a delightful orchestral ode to film music.
If you are not sure if you wanna download, then try this sample: http://www.youtube.com/watch?v=F7Zborrjv94
Red Canvas by James Peterson
mp3's 320 kbps
http://www.screenarchives.com/gifs/large/12973.gif
http://rs457l3.rapidshare.com/files/304036245/Can09.rar
Link is not mine.
Info from screenarchives:
James Peterson's score for The Red Canvas will blow fans of big, orchestral movie music away! A rarity in modern film music, this is a score that is inspired by the legendary Mikl�s R�zsa – Peterson masterfully writes very maturely for orchestra, with beautiful motifs, themes and counterpoint! Written for large orchestra with an emphasis on brass (eight french horns, six trombones, four trumpets, two tuba) and a large string section (60 pieces), the music is definitely a musical adrenaline fest (the +11 minute 'Ballet for Brawlers' is astonishing) - but the score never loses its focus on emotion. As a bonus, this CD (which is over 66 minutes) features Peterson's eight part concert work 'Moving Images Suite', a delightful orchestral ode to film music.
If you are not sure if you wanna download, then try this sample: http://www.youtube.com/watch?v=F7Zborrjv94
Red Canvas by James Peterson
mp3's 320 kbps
http://www.screenarchives.com/gifs/large/12973.gif
http://rs457l3.rapidshare.com/files/304036245/Can09.rar
Link is not mine.
arthierr
11-24-2009, 12:10 AM
Thanks a lot for the last posts, guys! Downloading right now. *yummy* Comments later, of course.
I'm less present in the board nowadays, due to professional and personal issues (priorities, priorities...), but when I'll come, I'll try to post my favorite orchestral scores, one by one.
So, my next post will be a true killer. Tango talked about it recently, so it's time to post it. I consider it as a real masterpiece, a fantastic, larger than life score from one of my favorite composers.
Coming soon. ;)
I'm less present in the board nowadays, due to professional and personal issues (priorities, priorities...), but when I'll come, I'll try to post my favorite orchestral scores, one by one.
So, my next post will be a true killer. Tango talked about it recently, so it's time to post it. I consider it as a real masterpiece, a fantastic, larger than life score from one of my favorite composers.
Coming soon. ;)
garcia27
11-24-2009, 01:01 AM
Anyway, enjoy. You�ll want to listen again as soon it�s finished, I guarantee it!
MP3-V0
http://rapidshare.com/files/310617510/10_Jerry_Goldsmith_-_Apotheosis.mp3
Thanks lens, could you upload this Small Soldiers bootleg, I have at least 3 versions, but they don't have this great theme.
Thanks in advance!
MP3-V0
http://rapidshare.com/files/310617510/10_Jerry_Goldsmith_-_Apotheosis.mp3
Thanks lens, could you upload this Small Soldiers bootleg, I have at least 3 versions, but they don't have this great theme.
Thanks in advance!
garcia27
11-24-2009, 08:09 PM
The question remains, why does it stand apart so significantly from the leaner, more militaristic sound deployed elsewhere? Could it be Jerry’s ‘first thoughts’ before seeing a completed edit (akin to an image album piece), before themes had solidified?
May be the reason is that this theme wasn't composed by Jerry.
I think we made a mistake because this is a suite from Best Friend's Wedding by James Newton Howard. It was estrange for me that all my Small Soldiers versions didn't have this theme.
Here you can find the suite in youtube:
http://www.youtube.com/watch?v=xP9XTMSl6wU&feature=related
Best!
May be the reason is that this theme wasn't composed by Jerry.
I think we made a mistake because this is a suite from Best Friend's Wedding by James Newton Howard. It was estrange for me that all my Small Soldiers versions didn't have this theme.
Here you can find the suite in youtube:
http://www.youtube.com/watch?v=xP9XTMSl6wU&feature=related
Best!
Lens of Truth
11-24-2009, 10:06 PM
*Gulp* Oh my gosh!! I should have realised. What a great little suite all the same! I always had niggling doubts about its provenance, but it IS sufficiently within Jerry style, even uncannily so in parts! The big give away is the anthemic piano part, but listen to the oboe and string writing.. also that capricious passage at 5:04, rushing upwards, almost one of Jerry's trademarks! I think I've commented before on how much Newton Howard based his style on Goldsmith's, but I've been well and truly duped. Maybe because I like it so much ;) Apologies for supreme ignorance on my part and THANK YOU for clearing it up!!! I knew if I posted here I'd get an answer :D
[Apotheosis indeed!! Lens you pretentious tosser!]
Sirus - Thanks for the fantastic Morricone pack. Really enjoying it.
Herbaciak - Wow, this guy's one to watch. Just ordered the score after listening through. Stunning! The concert works and ballets listed on his website sound very tantalising.
[Apotheosis indeed!! Lens you pretentious tosser!]
Sirus - Thanks for the fantastic Morricone pack. Really enjoying it.
Herbaciak - Wow, this guy's one to watch. Just ordered the score after listening through. Stunning! The concert works and ballets listed on his website sound very tantalising.
Eshvoide
11-25-2009, 04:10 AM
I love these remixes of Touhou done by WAVE
- Ever More - Endless Night (http://www.youtube.com/watch?v=2vsN90kj_9M&feature=related)
- Overture Sequel - Blossom (http://www.youtube.com/watch?v=1EozMEwS7qE&feature=related)
- Ever More - Flowing Night (http://www.youtube.com/watch?v=PQCPOybfP2c)
- Overture Sequel - Retrospective (http://www.youtube.com/watch?v=MoEZMzUgUxM&feature=related) *probably my favorite one*
- Ever More - Endless Night (http://www.youtube.com/watch?v=2vsN90kj_9M&feature=related)
- Overture Sequel - Blossom (http://www.youtube.com/watch?v=1EozMEwS7qE&feature=related)
- Ever More - Flowing Night (http://www.youtube.com/watch?v=PQCPOybfP2c)
- Overture Sequel - Retrospective (http://www.youtube.com/watch?v=MoEZMzUgUxM&feature=related) *probably my favorite one*
Sirusjr
11-25-2009, 04:17 AM
Glad you like the pack Lens, the next one will include the main title track from Giu La Testa, an absolutely ravishing beautiful track!
Lens of Truth
11-25-2009, 05:13 AM
Glad you like the pack Lens, the next one will include the main title track from Giu La Testa, an absolutely ravishing beautiful track!
*shum shum* XD
Great stuff. I bought that one on dvd a while ago and enjoyed it a lot more than I expected. Quite an underrated Leone, and the music is very striking, pretty eccentric and varied, even for Morricone. I haven't got round to acquiring the music yet in any form, so this will be most welcome.
*shum shum* XD
Great stuff. I bought that one on dvd a while ago and enjoyed it a lot more than I expected. Quite an underrated Leone, and the music is very striking, pretty eccentric and varied, even for Morricone. I haven't got round to acquiring the music yet in any form, so this will be most welcome.
Sirusjr
11-25-2009, 05:20 AM
*shum shum* XD
Great stuff. I bought that one on dvd a while ago and enjoyed it a lot more than I expected. Quite an underrated Leone, and the music is very striking, pretty eccentric and varied, even for Morricone. I haven't got round to acquiring the music yet in any form, so this will be most welcome.
Shum Shum indeed! Quite an interesting track and the recording I grabbed is wonderful! You will have to wait for the full recording until after I am done with all the packs. Gotta build up the suspense.
Great stuff. I bought that one on dvd a while ago and enjoyed it a lot more than I expected. Quite an underrated Leone, and the music is very striking, pretty eccentric and varied, even for Morricone. I haven't got round to acquiring the music yet in any form, so this will be most welcome.
Shum Shum indeed! Quite an interesting track and the recording I grabbed is wonderful! You will have to wait for the full recording until after I am done with all the packs. Gotta build up the suspense.
streichorchester
11-25-2009, 11:46 AM
I think we made a mistake because this is a suite from Best Friend's Wedding by James Newton Howard.
I knew I had heard it before, I just couldn't remember exactly where. The Newton Howard style was very distinctive here. Thanks for saving me a few hours of sifting through his scores looking for this.
I knew I had heard it before, I just couldn't remember exactly where. The Newton Howard style was very distinctive here. Thanks for saving me a few hours of sifting through his scores looking for this.
ShadowSong
11-25-2009, 03:08 PM
here is something you guys should enjoy (at least i did)
IL-2 Sturmovik Original Soundtrack
Jeremy Soule
01 IL-2 Sturmovik March
02 The Engagement
03 The Hunt
04 Code of Honor
05 Rain Ghosts
06 The Great Death Mistress
07 Theatre of the Delusionary
08 Chariots of Endearment
09 Hammer of Defeat
10 Valor and Triumph
11 Lament for a Pilot
12 Victory
Sample Track (http://www.hotlinkfiles.com/files/2443865_jyg49/01IL-2SturmovikMarch.mp3)
Better quality here (Thread 71830)
IL-2 Sturmovik Original Soundtrack
Jeremy Soule
01 IL-2 Sturmovik March
02 The Engagement
03 The Hunt
04 Code of Honor
05 Rain Ghosts
06 The Great Death Mistress
07 Theatre of the Delusionary
08 Chariots of Endearment
09 Hammer of Defeat
10 Valor and Triumph
11 Lament for a Pilot
12 Victory
Sample Track (http://www.hotlinkfiles.com/files/2443865_jyg49/01IL-2SturmovikMarch.mp3)
Better quality here (Thread 71830)
lordjim48
11-25-2009, 10:05 PM
Krull the movie I saw when it first came out-wierd amalgam of influences-not a very good movie but that rousing music score-many times the score is better than the film overall-Horner would go on to write many film scores-some the same-sounding some great like Legends of the Fall and others-now my wife saw Joshua Bell liive in San Diego-great virtuoso and what a cutie! That's what she said!
lordjim48
11-25-2009, 10:11 PM
Zuhe heroic but was a strange movie-I think Michael Caine's first flick-the heroic but colonial British fighting bravely the mighty Zulus to a standstill-bad history, impressive movie and the big soundtrack by John Barry-Art work had those giant letters that many epics had-bigger than life but only on those great old theater screens!
arthierr
11-26-2009, 01:33 AM
Here's the score I announced yesterday. I consider this one as a real masterpiece, a masterfully crafted orchestral treasure. Kousuke Yamashita is one of my very favorite composers, and this ost is among the most impressive he has composed.
I already posted Xenosaga THE ANIMATION, another space opera score by Kousuke Yamashita, which was already very good, but this time the young composer goes bigger and better! For this one it seems they gave him enough money and time to fully express his talent. So what you have here is nearly 100 minutes of huge, bombastic symphonic music written for a space opera anime, performed by a more-than-decent sized orchestra. As usual, Yamashita displays a remarkable sense of virtuosity, and an incredible mastery of orchestral music. There are plenty of action-oriented tracks, and each of them is quite superb. Some people talked about Horner doing some swashbuckling music for Star Trek, then they may enjoy this score, as some action cues have the same sense of heroic, adventurous fighting spirit.
See, this is one of the reasons this thread exists: to make more popular music of such quality, because frankly, how many people would have know that an obscure anime like this one could feature such a fantastic score?
Garasu no Kantai (Glass Fleet) OST
Composed By Kousuke YAMASHITA
|MP3|320|297MB|
Credits go to the original uploader
http://tinypaste.com/75d8a
Garasu no Kantai OST CD1 Tracklist:
01 - Hoshi no Densetsu
02 - Tsuyoku Tsuyoku
03 - Senka no Hoshi Iki
04 - Kibou no Tsurugi - Michel
05 - Shukumei no Futari
06 - Juujisei Kyou
07 - Kizoku Tachi
08 - Sakuryaku
09 - Kaze no Kureo
10 - Garasu no Senkan - Aiolos
11 - Yashin
12 - Ui Go no Gishiki
13 - Yogen
14 - Jiyuu no Hata no Moto ni
15 - Nakama Tachi
16 - Ketsui
17 - Namida Drop (TV size)
Garasu no Kantai OST CD2 Tracklist:
01 - Michel no Ai
02 - Yuujou
03 - Houou Goruna
04 - Shensei Koutei Vetti
05 - Gouka
06 - Ginga no Kaze
07 - Ouke no Monshou
08 - Wakusei Orurean
09 - Densetsu no Bujin
10 - Ooinaru Kibou
11 - Meikyuu no Rachel
12 - Kodoku
13 - Kessen
14 - Shinsekai
15 - Kanata he (TV size)
I already posted Xenosaga THE ANIMATION, another space opera score by Kousuke Yamashita, which was already very good, but this time the young composer goes bigger and better! For this one it seems they gave him enough money and time to fully express his talent. So what you have here is nearly 100 minutes of huge, bombastic symphonic music written for a space opera anime, performed by a more-than-decent sized orchestra. As usual, Yamashita displays a remarkable sense of virtuosity, and an incredible mastery of orchestral music. There are plenty of action-oriented tracks, and each of them is quite superb. Some people talked about Horner doing some swashbuckling music for Star Trek, then they may enjoy this score, as some action cues have the same sense of heroic, adventurous fighting spirit.
See, this is one of the reasons this thread exists: to make more popular music of such quality, because frankly, how many people would have know that an obscure anime like this one could feature such a fantastic score?
Garasu no Kantai (Glass Fleet) OST
Composed By Kousuke YAMASHITA
|MP3|320|297MB|
Credits go to the original uploader
http://tinypaste.com/75d8a
Garasu no Kantai OST CD1 Tracklist:
01 - Hoshi no Densetsu
02 - Tsuyoku Tsuyoku
03 - Senka no Hoshi Iki
04 - Kibou no Tsurugi - Michel
05 - Shukumei no Futari
06 - Juujisei Kyou
07 - Kizoku Tachi
08 - Sakuryaku
09 - Kaze no Kureo
10 - Garasu no Senkan - Aiolos
11 - Yashin
12 - Ui Go no Gishiki
13 - Yogen
14 - Jiyuu no Hata no Moto ni
15 - Nakama Tachi
16 - Ketsui
17 - Namida Drop (TV size)
Garasu no Kantai OST CD2 Tracklist:
01 - Michel no Ai
02 - Yuujou
03 - Houou Goruna
04 - Shensei Koutei Vetti
05 - Gouka
06 - Ginga no Kaze
07 - Ouke no Monshou
08 - Wakusei Orurean
09 - Densetsu no Bujin
10 - Ooinaru Kibou
11 - Meikyuu no Rachel
12 - Kodoku
13 - Kessen
14 - Shinsekai
15 - Kanata he (TV size)
Sirusjr
11-26-2009, 02:08 AM
Another great post Arthierr. I've listened to that a number of times and it is always exciting :D
Annd... new Hirano!
Yoshihisa Hirano - Hajime no Ippo New Challenger OST
|MP3|VBR V-2|93MB|
|Orchestral|Piano|Rock Guitar|
http://forums.ffshrine.org/showthread.php?p=1373709#post1373709
Annd... new Hirano!
Yoshihisa Hirano - Hajime no Ippo New Challenger OST
|MP3|VBR V-2|93MB|
|Orchestral|Piano|Rock Guitar|
http://forums.ffshrine.org/showthread.php?p=1373709#post1373709
Valyrious
11-26-2009, 08:56 AM
Black Soundtrack
Music Composed by Chris Tilton & Michael Giacchino
320 kbps
http://tinyurl.com/qyr2ae
01. Main Theme - 2:23
02. Treneska Border Crossing - 2:14
03. Tunnel Trouble - 3:02
04. A Bridge Too Close - 1:43
05. Walking Tour of Treneska - 1:35
06. Minefield - 1:29
07. Tivliz Asylum - 2:41
08. Madhouse Mayhem - 1:42
09. Sniper Alley - 2:05
10. Drydock - 2:24
11. Black and Boom - 2:25
12. Ambush - 2:29
13. Gulag Gauntlet - 4:22
14. Bunker Buster - 2:25
15. Main Theme (reprise) - 3:59
Could you please re-up?
Music Composed by Chris Tilton & Michael Giacchino
320 kbps
http://tinyurl.com/qyr2ae
01. Main Theme - 2:23
02. Treneska Border Crossing - 2:14
03. Tunnel Trouble - 3:02
04. A Bridge Too Close - 1:43
05. Walking Tour of Treneska - 1:35
06. Minefield - 1:29
07. Tivliz Asylum - 2:41
08. Madhouse Mayhem - 1:42
09. Sniper Alley - 2:05
10. Drydock - 2:24
11. Black and Boom - 2:25
12. Ambush - 2:29
13. Gulag Gauntlet - 4:22
14. Bunker Buster - 2:25
15. Main Theme (reprise) - 3:59
Could you please re-up?
LordColin
11-26-2009, 04:29 PM
It's a Chris Tilton score, they were not allowed here, or were they?
Lens of Truth
11-26-2009, 04:39 PM
No, Chris asked for the links to be removed himself.
herbaciak
11-26-2009, 04:55 PM
Glass Fleet is really good. I mean, REALLY GOOD:D. Well, at least first CD (megaupload hates me today). Thanks Arthierr!
etriple
11-26-2009, 05:35 PM
Thank god I got Black before he made that request. It's one of the reasons I signed up for this amazing forum.
Sirusjr
11-26-2009, 07:06 PM
Kanagawa Philharmonic Orchestra - Tytania OST 2 (for real this time)
|MP3|CBR256|123MB|Japanese Tags|
|Thanks to Quiet G for original post!|
|Orchestral|Mellow|Regal|Epic|
MEDIAFIRE: http://anonym.to/?http://www.mediafire.com/?ymimjgnykzm
RAPIDSHARE: http://anonym.to/?http://rapidshare.com/files/312584548/Tytania_OST_2.rar
|MP3|CBR256|123MB|Japanese Tags|
|Thanks to Quiet G for original post!|
|Orchestral|Mellow|Regal|Epic|
MEDIAFIRE: http://anonym.to/?http://www.mediafire.com/?ymimjgnykzm
RAPIDSHARE: http://anonym.to/?http://rapidshare.com/files/312584548/Tytania_OST_2.rar
The_White_Crane
11-26-2009, 07:31 PM
Thank you for this! I've been trying to find it for months now.
You're a wonder!
You're a wonder!
garcia27
11-26-2009, 07:46 PM
[CENTER]Red Canvas by James Peterson
mp3's 320 kbps
http://rs457l3.rapidshare.com/files/304036245/Can09.rar
Link is not mine.
Thanks a lot for this. I am really surprised with James Peterson.
Specialy I like the action theme of eleven minutes Ballet For Brawlers, it could be easily composed by the best Jerry Goldsmith. One of the best (may be the best) action themes that I have listened in years. My god, it is impressive!
Thanks, thanks, thanks!!!
mp3's 320 kbps
http://rs457l3.rapidshare.com/files/304036245/Can09.rar
Link is not mine.
Thanks a lot for this. I am really surprised with James Peterson.
Specialy I like the action theme of eleven minutes Ballet For Brawlers, it could be easily composed by the best Jerry Goldsmith. One of the best (may be the best) action themes that I have listened in years. My god, it is impressive!
Thanks, thanks, thanks!!!
Lens of Truth
11-26-2009, 08:18 PM
Requested in the film score thread, this magical piece deserves its place here too. Enjoy!
HOWARD BLAKE - THE SNOWMAN
MP3-V0
http://uploadmirrors.com/download/KNKKCKOO/The Snowman.mp3
HOWARD BLAKE - THE SNOWMAN
MP3-V0
http://uploadmirrors.com/download/KNKKCKOO/The Snowman.mp3
JRL3001
11-27-2009, 05:38 AM
Oh sweet! Tytanio OST 2! Downloading asap! Thanks a bunch, Sirusjr!
And arthierr, I totally forgot about that series! Saw episode one, music was great! Am getting this one to listen to as well!
Thanks a bunch, both of you :D
And arthierr, I totally forgot about that series! Saw episode one, music was great! Am getting this one to listen to as well!
Thanks a bunch, both of you :D
Sirusjr
11-27-2009, 10:36 PM
I am currently going through Jessie's rip of the Resident Evil Darkside Chronicles to weed out the best tracks. Until I am done, here is a sample track to give you an idea what to expect. Orchestration is done by Yoshihisa Hirano so its a wonderful soundtrack when you take away the ambient tracks.
http://www.mediafire.com/?zltg5dnkqia (one track to preview)
http://www.mediafire.com/?zltg5dnkqia (one track to preview)
TREKmaniacX
11-27-2009, 11:20 PM
.
Sirusjr
11-28-2009, 01:25 AM
Resident Evil - The Darkside Chronicles
|Shusaku Uchiyama and Takeshi Miura - Orchestrated by Yoshihisa Hirano|
|Some tracks performed by Tokyo Chamber Music Association|
|Gamerip - Rip by Jessie - Edit by Me|
|Orchestral|Epic|Choral|Action|Ambient (in removed tracks)|
|MP3|VBR V-0|233MB|50Tracks|2:34:45|
|Rejected Tracks - 36tracks 133MB|
Custom Edit:
Part 1 - http://anonym.to/?http://www.mediafire.com/?i2tzjmm24z0
Part 2 - http://anonym.to/?http://www.mediafire.com/?czrmjwzg5vv
Removed Tracks (for completionists)
http://anonym.to/?http://www.mediafire.com/?gnngy10wiwt
Sample: http://www.mediafire.com/?zltg5dnkqia
Jessie posted this wonderful soundtrack in the requests section and I had to re-upload my own edited version to give it more exposure and in case some people don't like the usual Resident Evil ambient tracks. If you don't like ambient tracks, only download part 1 and 2 of my custom edit. I edited the tags on that so the track numbers go from 1-50 but left the original track numbers in the file name for those who want to combine the removed tracks to one big soundtrack.
I highly suggest you guys check this out if you like big bombastic orchestral albums. Do not skip this over just because you don't usually like Resident Evil music. This is not your usual Resident Evil music!
|Shusaku Uchiyama and Takeshi Miura - Orchestrated by Yoshihisa Hirano|
|Some tracks performed by Tokyo Chamber Music Association|
|Gamerip - Rip by Jessie - Edit by Me|
|Orchestral|Epic|Choral|Action|Ambient (in removed tracks)|
|MP3|VBR V-0|233MB|50Tracks|2:34:45|
|Rejected Tracks - 36tracks 133MB|
Custom Edit:
Part 1 - http://anonym.to/?http://www.mediafire.com/?i2tzjmm24z0
Part 2 - http://anonym.to/?http://www.mediafire.com/?czrmjwzg5vv
Removed Tracks (for completionists)
http://anonym.to/?http://www.mediafire.com/?gnngy10wiwt
Sample: http://www.mediafire.com/?zltg5dnkqia
Jessie posted this wonderful soundtrack in the requests section and I had to re-upload my own edited version to give it more exposure and in case some people don't like the usual Resident Evil ambient tracks. If you don't like ambient tracks, only download part 1 and 2 of my custom edit. I edited the tags on that so the track numbers go from 1-50 but left the original track numbers in the file name for those who want to combine the removed tracks to one big soundtrack.
I highly suggest you guys check this out if you like big bombastic orchestral albums. Do not skip this over just because you don't usually like Resident Evil music. This is not your usual Resident Evil music!
Firefly00
11-28-2009, 01:42 AM
Garasu no Kantai (Glass Fleet) OST
Composed By Kousuke YAMASHITA
Kanagawa Philharmonic Orchestra - Tytania OST 2 (for real this time)
|MP3|CBR256|123MB|Japanese Tags|
Cool; I'll be checking these out...
Composed By Kousuke YAMASHITA
Kanagawa Philharmonic Orchestra - Tytania OST 2 (for real this time)
|MP3|CBR256|123MB|Japanese Tags|
Cool; I'll be checking these out...
herbaciak
11-28-2009, 09:29 AM
Resident Evil - The Darkside Chronicles
Sample track that you posted before was good enough to get me interested (to be honest, it was surprisingly great:)). But first in my queue is Magna Carta:). This one has to wait. Thanks for custom rip though:).
Sample track that you posted before was good enough to get me interested (to be honest, it was surprisingly great:)). But first in my queue is Magna Carta:). This one has to wait. Thanks for custom rip though:).
Hotdogmayonnaize
11-28-2009, 01:30 PM
Hey,
I'm looking for The Magnificent Sevent (Les Sept Mercenaires), an Elmer Berstein's masterpiece.
If someone has this score, could he please upload its ?
I'm looking for The Magnificent Sevent (Les Sept Mercenaires), an Elmer Berstein's masterpiece.
If someone has this score, could he please upload its ?
TREKmaniacX
11-28-2009, 07:20 PM
.
TREKmaniacX
11-28-2009, 08:18 PM
.
arthierr
11-29-2009, 05:01 PM
Bio: Thanks for removing those, it's better for safety reasons. But of course, if you want to post out-of-print / rare / not-new scores, please do. It would be very welcome.
Sirusjr, Lens: Thanks for your last posts, guys. Seems wonderful, will have to check ASAP.
Glass Fleet is really good. I mean, REALLY GOOD:D. Well, at least first CD (megaupload hates me today). Thanks Arthierr!
Enjoy! And CD2 has about the same amount of awesomeness, maybe even more, since it contains the last battle tracks.
Could you please re-up?
Nope, sorry. Here's why (starts at post 2065):
http://forums.ffshrine.org/showthread.php?p=1243454
Now, my next post will make very happy fans of orchestral music with medieval and arabian influences. Coming very soon. :)
Sirusjr, Lens: Thanks for your last posts, guys. Seems wonderful, will have to check ASAP.
Glass Fleet is really good. I mean, REALLY GOOD:D. Well, at least first CD (megaupload hates me today). Thanks Arthierr!
Enjoy! And CD2 has about the same amount of awesomeness, maybe even more, since it contains the last battle tracks.
Could you please re-up?
Nope, sorry. Here's why (starts at post 2065):
http://forums.ffshrine.org/showthread.php?p=1243454
Now, my next post will make very happy fans of orchestral music with medieval and arabian influences. Coming very soon. :)
mverta
11-29-2009, 07:14 PM
Obviously, I share Chris's sentiments on this sort of thing, inasmuch as I sweat my bills same as you, only when people pirate my work, my bills don't get paid.
I have always been a supporter of pirating as a sort of try-before-you-buy thing; I don't want people to have spent hard earned money for something they don't like. But if you like it, buy it. It's cheap, by any standard, and if it's worth stealing, it's worth saving up for, assuming you actually have to "save up" the $9-12 or whatever. What I like about pirating is that it compels artists to produce work worth paying for. But listeners have to do their part, or the whole thing collapses. Plus, it is just all kinds of bad karma to say to someone, "Hey I love your music and I have it on my iTunes and on my iPod and I listen to it all the time and also go fuck yourself; I'm stealing it."
My score for Forbidden Warrior is not commercially available, so I put the whole thing up online for free. My Jazz albums are not currently in a distribution deal, so I put them up for free. If there's no other way to get the music, and I have no real chance of making any royalties from them, then I put them out there for anyone who wants them. That's about as much as I think anyone can ask of us. I want a Ferrari, but I can't afford one. I don't just get to steal one.
It's amazing how little it asks of people, just to keep this whole thing cool and in balance.
_Mike
I have always been a supporter of pirating as a sort of try-before-you-buy thing; I don't want people to have spent hard earned money for something they don't like. But if you like it, buy it. It's cheap, by any standard, and if it's worth stealing, it's worth saving up for, assuming you actually have to "save up" the $9-12 or whatever. What I like about pirating is that it compels artists to produce work worth paying for. But listeners have to do their part, or the whole thing collapses. Plus, it is just all kinds of bad karma to say to someone, "Hey I love your music and I have it on my iTunes and on my iPod and I listen to it all the time and also go fuck yourself; I'm stealing it."
My score for Forbidden Warrior is not commercially available, so I put the whole thing up online for free. My Jazz albums are not currently in a distribution deal, so I put them up for free. If there's no other way to get the music, and I have no real chance of making any royalties from them, then I put them out there for anyone who wants them. That's about as much as I think anyone can ask of us. I want a Ferrari, but I can't afford one. I don't just get to steal one.
It's amazing how little it asks of people, just to keep this whole thing cool and in balance.
_Mike
Sirusjr
11-30-2009, 02:05 AM
Hasumi Shigeomi - Sasameki Koto Original Soundtrack - Sasameki Oto
|Originally uploaded by Nipponsei|
|MP3|320kbps|Scans|165MB|2009|
|Relaxing|Mellow|Peaceful|
Thread 71978
|Originally uploaded by Nipponsei|
|MP3|320kbps|Scans|165MB|2009|
|Relaxing|Mellow|Peaceful|
Thread 71978
LordColin
11-30-2009, 02:58 AM
.
hater
11-30-2009, 02:34 PM
Tytania, Glass Fleet and Resident Evil DC are that good i�m beginning to think its already christmas. Screw hollywood. Asia rules, cause it kicks all the bad scores in their jewels.
Ah, btw don�t get your hopes to high up for Horners Avatar score, i� ve already heard it and even as a fan of him i am not (very) impressed. Too modern and too cliche. With a few highlights.
Ah, btw don�t get your hopes to high up for Horners Avatar score, i� ve already heard it and even as a fan of him i am not (very) impressed. Too modern and too cliche. With a few highlights.
arthierr
11-30-2009, 02:53 PM
LordColin: Thx a lot for your last post, great stuff indeed. But since the incident with the pissed-off member, I consider it not safe to post *new* movie scores. As I said before:
As long as we don't post music from these labels, it's pretty safe in here. As I said before, this thread contains mostly out-of-print movie scores, or game scores, or anime scores, or compilations: nothing really threatening I guess.
So, even though I appreciate the fact that you contributed, could you please remove your last post from the orchestral thread, for safety reasons.
But of course, if you want to post out-of-print / rare movies scores, or anime / game scores, please do. It would be very welcome. By the way, it seems you're also a composer, so I'd be glad to see some of your music posted here. ;)
As long as we don't post music from these labels, it's pretty safe in here. As I said before, this thread contains mostly out-of-print movie scores, or game scores, or anime scores, or compilations: nothing really threatening I guess.
So, even though I appreciate the fact that you contributed, could you please remove your last post from the orchestral thread, for safety reasons.
But of course, if you want to post out-of-print / rare movies scores, or anime / game scores, please do. It would be very welcome. By the way, it seems you're also a composer, so I'd be glad to see some of your music posted here. ;)
arthierr
11-30-2009, 05:25 PM
Screw hollywood. Asia rules, cause it kicks all the bad scores in their jewels.
Well, there's *some* hope: just a little above your posts, a young and talented composer posted a comment, someone who's in fact one of the true heirs of the legendary composers of Hollywood, those who were real symphonists.
I do hope Mike Verta and other young composers of his level will be the next generation of Hollywood composers. While Tyler Bates (among others) will go sell ice creams in a van.
Resident Evil - The Darkside Chronicles
|Shusaku Uchiyama and Takeshi Miura - Orchestrated by Yoshihisa Hirano|
|Some tracks performed by Tokyo Chamber Music Association|
|Gamerip - Rip by Jessie - Edit by Me|
|Orchestral|Epic|Choral|Action|Ambient (in removed tracks)|
|MP3|VBR V-0|233MB|50Tracks|2:34:45|
|Rejected Tracks - 36tracks 133MB|
Although I thank you for posting this, I have to say it's rather a disappointment. Most of the tracks are performed by a fake orchestra, plus it's for a large part generic horror / action music, overly percussive and simple in composition. Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish". So maybe it would have been better to post only these tracks. Nice post anyway ;)
Well, there's *some* hope: just a little above your posts, a young and talented composer posted a comment, someone who's in fact one of the true heirs of the legendary composers of Hollywood, those who were real symphonists.
I do hope Mike Verta and other young composers of his level will be the next generation of Hollywood composers. While Tyler Bates (among others) will go sell ice creams in a van.
Resident Evil - The Darkside Chronicles
|Shusaku Uchiyama and Takeshi Miura - Orchestrated by Yoshihisa Hirano|
|Some tracks performed by Tokyo Chamber Music Association|
|Gamerip - Rip by Jessie - Edit by Me|
|Orchestral|Epic|Choral|Action|Ambient (in removed tracks)|
|MP3|VBR V-0|233MB|50Tracks|2:34:45|
|Rejected Tracks - 36tracks 133MB|
Although I thank you for posting this, I have to say it's rather a disappointment. Most of the tracks are performed by a fake orchestra, plus it's for a large part generic horror / action music, overly percussive and simple in composition. Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish". So maybe it would have been better to post only these tracks. Nice post anyway ;)
mverta
11-30-2009, 05:58 PM
Arthierr -
Extraordinarily nice thing to say; thank you!
Having just finished an entirely virtual score myself (ugh), you're preaching to the choir in regards to your disappointment over virtual/live orchestra cues. It's a non-discussion in my opinion.
There are two immutable facts for producers to consider:
1) A good live orchestra will always produce superior results to the best virtual orchestra - the music will be more emotionally powerful, compelling, and impactful.
2) The more emotionally powerful, compelling, and impactful the music, the better the film.
There is a third point, as well:
3) The better the film, the more profitable it will be.
Obviously, this is not an immutable fact; lots of brilliant movies made nothing, and no shortage of total crap rakes in the cash, we've noticed. But considering that the public-opinion element is out of our hands, it only makes sense to give the film a fighting chance, and do everything in one's power to help ensure its success. A live orchestra is cheap, relatively speaking, compared to most elements of production, and the return-on-investment is orders of magnitude higher than for virtually any other element of production, even casting. Good music can make a mediocre actor seem brilliant.
But still in all, if you are truly a symphonic composer, and you truly have an internalized sense and craft for how to work with the palette, I have found it possible to generate a good amount of drama, even virtually. Sure, in an A/B with live orchestra, even the deaf could hear the difference, but of course, few producers get to hear their virtual scores done live. Absent any such absolute reference, people can be every bit as effusive and passionate about a virtual score as they would a live one, but it's truly a case of not knowing what they're missing, although it's my experience that amongst people who listen to the sound of an orchestra all the time, the difference is unmistakable right from the get-go.
Things have changed. When I began composing, professionally, it was assumed we'd do it live. Today, the assumption is we're doing it virtually. At least, that's the measure in the States, though my first foray into Japanese A-Features (Ultraman) and it's virtual. Talk about a trend not worth adopting...
I once heard some unrecorded Williams cues from Superman, done on an extremely poor virtual orchestra. With no live reference, I was still taken by the musicality of them - they were good, even though they were bad. That experience was one of the reasons I even bothered to approach the Ultraman movie symphonically, despite it being virtual. And truly, the structure for Ultra Galaxy Legends is literally symphonic, with cues developed as movements in excess of 15 minutes each. Sadly, the OST CD required them to be broken up somewhat, as Sony did not want an OST with 6 tracks on it :) But in more than a few cases, listeners can take the gap between back-to-back tracks out and restore the cues to "as heard in the film."
In the end, I'm of two minds about the issue in one way: the people on this forum represent the very people OST's are released for in the first place. Everyone benefits by the success of OST sales. But then again, successful OST sales of virtual scores only encourages the problem. Perhaps in the end, though, it's really not the listener's responsibility to compel producers and directors to use good judgment. That's my job, and I'm doing my best, trust me :)
_Mike
Extraordinarily nice thing to say; thank you!
Having just finished an entirely virtual score myself (ugh), you're preaching to the choir in regards to your disappointment over virtual/live orchestra cues. It's a non-discussion in my opinion.
There are two immutable facts for producers to consider:
1) A good live orchestra will always produce superior results to the best virtual orchestra - the music will be more emotionally powerful, compelling, and impactful.
2) The more emotionally powerful, compelling, and impactful the music, the better the film.
There is a third point, as well:
3) The better the film, the more profitable it will be.
Obviously, this is not an immutable fact; lots of brilliant movies made nothing, and no shortage of total crap rakes in the cash, we've noticed. But considering that the public-opinion element is out of our hands, it only makes sense to give the film a fighting chance, and do everything in one's power to help ensure its success. A live orchestra is cheap, relatively speaking, compared to most elements of production, and the return-on-investment is orders of magnitude higher than for virtually any other element of production, even casting. Good music can make a mediocre actor seem brilliant.
But still in all, if you are truly a symphonic composer, and you truly have an internalized sense and craft for how to work with the palette, I have found it possible to generate a good amount of drama, even virtually. Sure, in an A/B with live orchestra, even the deaf could hear the difference, but of course, few producers get to hear their virtual scores done live. Absent any such absolute reference, people can be every bit as effusive and passionate about a virtual score as they would a live one, but it's truly a case of not knowing what they're missing, although it's my experience that amongst people who listen to the sound of an orchestra all the time, the difference is unmistakable right from the get-go.
Things have changed. When I began composing, professionally, it was assumed we'd do it live. Today, the assumption is we're doing it virtually. At least, that's the measure in the States, though my first foray into Japanese A-Features (Ultraman) and it's virtual. Talk about a trend not worth adopting...
I once heard some unrecorded Williams cues from Superman, done on an extremely poor virtual orchestra. With no live reference, I was still taken by the musicality of them - they were good, even though they were bad. That experience was one of the reasons I even bothered to approach the Ultraman movie symphonically, despite it being virtual. And truly, the structure for Ultra Galaxy Legends is literally symphonic, with cues developed as movements in excess of 15 minutes each. Sadly, the OST CD required them to be broken up somewhat, as Sony did not want an OST with 6 tracks on it :) But in more than a few cases, listeners can take the gap between back-to-back tracks out and restore the cues to "as heard in the film."
In the end, I'm of two minds about the issue in one way: the people on this forum represent the very people OST's are released for in the first place. Everyone benefits by the success of OST sales. But then again, successful OST sales of virtual scores only encourages the problem. Perhaps in the end, though, it's really not the listener's responsibility to compel producers and directors to use good judgment. That's my job, and I'm doing my best, trust me :)
_Mike
hater
11-30-2009, 06:15 PM
I do hope Mike Verta and other young composers of his level will be the next generation of Hollywood composers. While Tyler Bates (among others) will go sell ice creams in a van.
LoL. There is some hope in hollywood for the future but this year was really sad. And my dissapointment includes James Horners Avatar.Best Western Score so far was The Red Canvas. Outstanding music.
And for Virtual Orchestra, i can be really powerful like Superman Doomsday. (and the sadly not yet released Wonderwoman Score, which is fantastic) And just listen to the synth demos for Debneys Cutthoat Island.
I hope you can inform us when the Ultraman Score cd is available to buy.(and where from)
I�m dying to hear some samples.
LoL. There is some hope in hollywood for the future but this year was really sad. And my dissapointment includes James Horners Avatar.Best Western Score so far was The Red Canvas. Outstanding music.
And for Virtual Orchestra, i can be really powerful like Superman Doomsday. (and the sadly not yet released Wonderwoman Score, which is fantastic) And just listen to the synth demos for Debneys Cutthoat Island.
I hope you can inform us when the Ultraman Score cd is available to buy.(and where from)
I�m dying to hear some samples.
Sirusjr
11-30-2009, 06:16 PM
Well said Mr. Verta!
I can think of a few movies that were extra compelling because of a good score and many others that were compelling despite a score I found to be completely boring and uninspired. It certainly helps to have a good score in a movie if you want to convey a certain type of emotion and don't have the acting to back it up. With big actors not drawing the ticket sales perhaps studios will put that money towards a live orchestra instead and eventually realize that the score CDs start selling better.
Despite the synth orchestra present in the Resident Evil Darkside Chronicles I would purchase that over all the other resident evil soundtracks that exist in a heartbeat and hopefully it will get a CD release by Sumthing Else Music Works like RE5 soundtrack did (but first it must be released on CD in Japan).
I can think of a few movies that were extra compelling because of a good score and many others that were compelling despite a score I found to be completely boring and uninspired. It certainly helps to have a good score in a movie if you want to convey a certain type of emotion and don't have the acting to back it up. With big actors not drawing the ticket sales perhaps studios will put that money towards a live orchestra instead and eventually realize that the score CDs start selling better.
Despite the synth orchestra present in the Resident Evil Darkside Chronicles I would purchase that over all the other resident evil soundtracks that exist in a heartbeat and hopefully it will get a CD release by Sumthing Else Music Works like RE5 soundtrack did (but first it must be released on CD in Japan).
hater
11-30-2009, 06:25 PM
Well, there's *some* hope: just a little above your posts, a young and talented composer posted a comment, someone who's in fact one of the true heirs of the legendary composers of Hollywood, those who were real symphonists.
I do hope Mike Verta and other young composers of his level will be the next generation of Hollywood composers. While Tyler Bates (among others) will go sell ice creams in a van.
Although I thank you for posting this, I have to say it's rather a disappointment. Most of the tracks are performed by a fake orchestra, plus it's for a large part generic horror / action music, overly percussive and simple in composition. Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish". So maybe it would have been better to post only these tracks. Nice post anyway ;)
arthierr how about a best of version on rapidshare/megaupload with only your favorite tracks?
I do hope Mike Verta and other young composers of his level will be the next generation of Hollywood composers. While Tyler Bates (among others) will go sell ice creams in a van.
Although I thank you for posting this, I have to say it's rather a disappointment. Most of the tracks are performed by a fake orchestra, plus it's for a large part generic horror / action music, overly percussive and simple in composition. Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish". So maybe it would have been better to post only these tracks. Nice post anyway ;)
arthierr how about a best of version on rapidshare/megaupload with only your favorite tracks?
arthierr
11-30-2009, 07:27 PM
Having just finished an entirely virtual score myself (ugh), you're preaching to the choir in regards to your disappointment over virtual/live orchestra cues. It's a non-discussion in my opinion.
This wasn't exactly what I meant. In fact I've had in the past several arguments with Tango in defense of virtual orchestras. Here's one of such discussions: Thread 58887
In this particular case (Resident Evil), the fact is that you can clearly feel a difference in overall quality between the "virtual" tracks and those performed by a true orchestra. The former sound like generic, simple, over-percussive action / horror cues, while the latter sound much more complex and genuinely orchestral, not only in performance, but also in orchestration and compostion. One of the reasons is of course because Yoshihisa Hirano himself orchestrated them, adding his distinctive, elegant style to the compositions.
I personally have nothing against virtual orchestras (while I prefer of course real orchestras, by far), as long as they SOUND GOOD! Too many times I've heard poor, artificial sounding orchestral libraries. But things are changing, the new generations of orchestral libraries are quite impressive and realistic, hence much more listenable.
Moreover, as you say, a key factor is the composer's EAR and TASTE. A good composer knows what he wants to express and how to obtain the particular sound for this, combining patches and layers, even recording some new samples if he can afford to, like Jeremy Soule did.
arthierr how about a best of version on rapidshare/megaupload with only your favorite tracks?
Here are the ones I consider as really worthy in Sirusjr's uploads. These tracks are really gorgeous, and sometimes operatic in nature. Highly recommended.
40-s10c72.mp3
43-s10c81.mp3
52-s20c31.mp3
62-s20c71.mp3
63-s20c72.mp3
64-s20c73.mp3
77-s30c42.mp3
79-s30c51.mp3
80-s30c52.mp3
83-s30sa3.mp3
88-Credits.mp3
This wasn't exactly what I meant. In fact I've had in the past several arguments with Tango in defense of virtual orchestras. Here's one of such discussions: Thread 58887
In this particular case (Resident Evil), the fact is that you can clearly feel a difference in overall quality between the "virtual" tracks and those performed by a true orchestra. The former sound like generic, simple, over-percussive action / horror cues, while the latter sound much more complex and genuinely orchestral, not only in performance, but also in orchestration and compostion. One of the reasons is of course because Yoshihisa Hirano himself orchestrated them, adding his distinctive, elegant style to the compositions.
I personally have nothing against virtual orchestras (while I prefer of course real orchestras, by far), as long as they SOUND GOOD! Too many times I've heard poor, artificial sounding orchestral libraries. But things are changing, the new generations of orchestral libraries are quite impressive and realistic, hence much more listenable.
Moreover, as you say, a key factor is the composer's EAR and TASTE. A good composer knows what he wants to express and how to obtain the particular sound for this, combining patches and layers, even recording some new samples if he can afford to, like Jeremy Soule did.
arthierr how about a best of version on rapidshare/megaupload with only your favorite tracks?
Here are the ones I consider as really worthy in Sirusjr's uploads. These tracks are really gorgeous, and sometimes operatic in nature. Highly recommended.
40-s10c72.mp3
43-s10c81.mp3
52-s20c31.mp3
62-s20c71.mp3
63-s20c72.mp3
64-s20c73.mp3
77-s30c42.mp3
79-s30c51.mp3
80-s30c52.mp3
83-s30sa3.mp3
88-Credits.mp3
Leon Scott Kennedy
11-30-2009, 07:35 PM
Despite the synth orchestra present in the Resident Evil Darkside Chronicles I would purchase that over all the other resident evil soundtracks that exist in a heartbeat and hopefully it will get a CD release by Sumthing Else Music Works like RE5 soundtrack did (but first it must be released on CD in Japan).
There's already an official release for Darkside Chronicles. Bundled with the collector's edition of Biohazard: Darkside Chronicles (Japan-only, as always <.<) come a DVD and the OST (the information's source (http://www.the-horror.com/forums/showthread.php?t=6288) is Famitsu)..... So, the album's out there, just waiting to surface.
There's already an official release for Darkside Chronicles. Bundled with the collector's edition of Biohazard: Darkside Chronicles (Japan-only, as always <.<) come a DVD and the OST (the information's source (http://www.the-horror.com/forums/showthread.php?t=6288) is Famitsu)..... So, the album's out there, just waiting to surface.
Lens of Truth
11-30-2009, 07:58 PM
And truly, the structure for Ultra Galaxy Legends is literally symphonic, with cues developed as movements in excess of 15 minutes each.
I can’t tell you how much it fills me with hope for the future of film scoring every time you post Mike. ‘Structure’, ‘symphonic’ and ‘development’ are perhaps my three favourite words :) I’m astonished that Ultraman allowed for such an extended musical treatment. One of my dreams has always been to make a symphonically structured film – narrative, camera work, music, editing, all ‘composed’ and designed in that manner. I suppose I mean something different to what we associate with classical symphonies; cinema has its own formal properties (barely explored in contemporary Hollywood), and it should be something between ‘cinematic’ and ‘symphonic’ – why isn’t there a word for this?
I think some of the greatest directors do create such structures, and it’s a wonderful thing when the music seems to grow organically from the film, rather than being a case of ‘covering the cracks’ (the Herrmann-Hitchcock collaborations spring to mind).
Wouldn’t it be amazing to reverse the usual order of things and let a composer write a score, a dramatic symphony, a tone poem, and then interpret and ‘score’ that visually, narratively..
[Sorry, I’m talking gibberish again!]
Please let us know where/when Ultra Galaxy Legends will be available to buy!
Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish".
As Leon has mentioned, the ‘Darkside Symphony’ should appear soon Arthierr. I’m assuming it will consist of precisely these tracks, but who knows, it might even have more :D Hirano’s arrangements have put this soundtrack head and shoulders above those of the previous games as far as I’m concerned, but you do have to take the rough with the smooth with gamerips.
I can’t tell you how much it fills me with hope for the future of film scoring every time you post Mike. ‘Structure’, ‘symphonic’ and ‘development’ are perhaps my three favourite words :) I’m astonished that Ultraman allowed for such an extended musical treatment. One of my dreams has always been to make a symphonically structured film – narrative, camera work, music, editing, all ‘composed’ and designed in that manner. I suppose I mean something different to what we associate with classical symphonies; cinema has its own formal properties (barely explored in contemporary Hollywood), and it should be something between ‘cinematic’ and ‘symphonic’ – why isn’t there a word for this?
I think some of the greatest directors do create such structures, and it’s a wonderful thing when the music seems to grow organically from the film, rather than being a case of ‘covering the cracks’ (the Herrmann-Hitchcock collaborations spring to mind).
Wouldn’t it be amazing to reverse the usual order of things and let a composer write a score, a dramatic symphony, a tone poem, and then interpret and ‘score’ that visually, narratively..
[Sorry, I’m talking gibberish again!]
Please let us know where/when Ultra Galaxy Legends will be available to buy!
Only a few tracks really stand out: the one with lyrics and true orchestra. These tracks are fantastic indeed, really impressive and authentically "Hirano-ish".
As Leon has mentioned, the ‘Darkside Symphony’ should appear soon Arthierr. I’m assuming it will consist of precisely these tracks, but who knows, it might even have more :D Hirano’s arrangements have put this soundtrack head and shoulders above those of the previous games as far as I’m concerned, but you do have to take the rough with the smooth with gamerips.
Sirusjr
11-30-2009, 07:58 PM
That isn't really exactly what I meant. When I say I want something to be released as a soundtrack I mean that it needs to be available as something you can buy separate from the game. Because VGMDB doesn't list anything claiming to be Resident Evil The Darkside Chronicles OST I assume that such a thing is not released separately and thus there is nothing out there for sumthing else music works to take and release under their label in the US. I am getting tired of the soundtracks to games being released just in some stupid collector's edition version of the game. Even then a purchase of the collector's edition doesn't expressly convey to the publisher that I am buying it for the soundtrack and for all they know I could just want all the OTHER extras.
I should also add that I purposefully was fairly liberal in what I kept in my edit because I didn't want it to be TOO exclusive and cut out tracks that are still nicely done. If I did that my edit would be only an hour or so long and people would have difficulty sorting through the remaining rejected tracks. This way you have a lot less music to sort through while keeping the truly exceptional orchestral tracks along with the solid other tracks that have serious movement in some way or another.
I should also add that I purposefully was fairly liberal in what I kept in my edit because I didn't want it to be TOO exclusive and cut out tracks that are still nicely done. If I did that my edit would be only an hour or so long and people would have difficulty sorting through the remaining rejected tracks. This way you have a lot less music to sort through while keeping the truly exceptional orchestral tracks along with the solid other tracks that have serious movement in some way or another.
Leon Scott Kennedy
11-30-2009, 08:04 PM
That isn't really exactly what I meant. When I say I want something to be released as a soundtrack I mean that it needs to be available as something you can buy separate from the game. Because VGMDB doesn't list anything claiming to be Resident Evil The Darkside Chronicles OST I assume that such a thing is not released separately and thus there is nothing out there for sumthing else music works to take and release under their label in the US. I am getting tired of the soundtracks to games being released just in some stupid collector's edition version of the game. Even then a purchase of the collector's edition doesn't expressly convey to the publisher that I am buying it for the soundtrack and for all they know I could just want all the OTHER extras.
You're right. On VGMdb such album would list as Enclosure/Promo.... I find pretty strange that nobody has added it to the database. Anyway, that's the only official release available at the moment for this game... at least it got a release. Too many games with awesome BGMs aren't so lucky :(
You're right. On VGMdb such album would list as Enclosure/Promo.... I find pretty strange that nobody has added it to the database. Anyway, that's the only official release available at the moment for this game... at least it got a release. Too many games with awesome BGMs aren't so lucky :(
Sirusjr
11-30-2009, 08:07 PM
Yeah well good luck having that soundtrack uploaded if its some exclusive pack-in with a LE in Japan. Hopefully some die-hard capcom fanboy will save the day.
Also Hater -
I would suggest that I Sell the Dead and Mutant Chronicles come in close after Red Canvas because they have such wonderful melodies and are well-crafted.
Also Hater -
I would suggest that I Sell the Dead and Mutant Chronicles come in close after Red Canvas because they have such wonderful melodies and are well-crafted.
mverta
11-30-2009, 10:17 PM
I’m astonished that Ultraman allowed for such an extended musical treatment. ...I suppose I mean something different to what we associate with classical symphonies; cinema has its own formal properties (barely explored in contemporary Hollywood), and it should be something between ‘cinematic’ and ‘symphonic’ – why isn’t there a word for this?
Cine-symphonic. So let it be written. :)
And the truth is, much credit should be given to the producer, Mr. Okabe, and the director, Mr. Sakamoto, for the approach/encouragement of a symphonically-structured score. My personal feeling is that this quality - that the score taken on its own holds up as an internally consistent and developing suite - is the hallmark of all great scores, and that such could possibly exist while serving the competing demands of the edit and a director, is often a task of galactic complexity.
But my goal has always been to write music which hardcore academic snobs would have to concede withstands analytical scrutiny, while the rest of us just enjoy whether we can say why or not. You can't sacrifice emotional quality merely for peer-review's sake, and only hacks can't execute proper subject/counter-subject development.
That being said, there was a very conscious attempt on the director's part to make Ultra Galaxy Legends play out in an operatic, even balletic fashion, and the monomythical nature of the subject material was perfectly suited for that. So I think it was set-up from the beginning to promote a wonderfully synergistic marriage of visuals and music, if we were up to the task. Plus, I think the stark contrast of serious, apocalyptic events being played out by men in rubber monster suits somehow contains such a rich soup of drama-genetics that it has almost unlimited entertainment potential :)
For those interested, I've done interviews for a couple of magazines/podcasts, talking a bit about the score, the approach, how I got the job, etc., one of which is already out (www.r5central.wordpress.com), though the interview is part of a whole "podcast" thing. If you want to hear just the interview portion itself it is available here. (http://www.mikeverta.com/Posts/MikeVertaInterview-FINAL.mp3)
The soundtrack is currently in pre-sales on places like Amazon Japan, and likely others, which I'm sure no shortage of people on this forum know about! I'm campaigning for the release of one of the tracks, or some samples, but Sony will most likely wait to approve such a thing (if they do) until after the official soundtrack release on December 9.
Thanks again to all of you for being fans, without whom our music is of little value...
_Mike
Cine-symphonic. So let it be written. :)
And the truth is, much credit should be given to the producer, Mr. Okabe, and the director, Mr. Sakamoto, for the approach/encouragement of a symphonically-structured score. My personal feeling is that this quality - that the score taken on its own holds up as an internally consistent and developing suite - is the hallmark of all great scores, and that such could possibly exist while serving the competing demands of the edit and a director, is often a task of galactic complexity.
But my goal has always been to write music which hardcore academic snobs would have to concede withstands analytical scrutiny, while the rest of us just enjoy whether we can say why or not. You can't sacrifice emotional quality merely for peer-review's sake, and only hacks can't execute proper subject/counter-subject development.
That being said, there was a very conscious attempt on the director's part to make Ultra Galaxy Legends play out in an operatic, even balletic fashion, and the monomythical nature of the subject material was perfectly suited for that. So I think it was set-up from the beginning to promote a wonderfully synergistic marriage of visuals and music, if we were up to the task. Plus, I think the stark contrast of serious, apocalyptic events being played out by men in rubber monster suits somehow contains such a rich soup of drama-genetics that it has almost unlimited entertainment potential :)
For those interested, I've done interviews for a couple of magazines/podcasts, talking a bit about the score, the approach, how I got the job, etc., one of which is already out (www.r5central.wordpress.com), though the interview is part of a whole "podcast" thing. If you want to hear just the interview portion itself it is available here. (http://www.mikeverta.com/Posts/MikeVertaInterview-FINAL.mp3)
The soundtrack is currently in pre-sales on places like Amazon Japan, and likely others, which I'm sure no shortage of people on this forum know about! I'm campaigning for the release of one of the tracks, or some samples, but Sony will most likely wait to approve such a thing (if they do) until after the official soundtrack release on December 9.
Thanks again to all of you for being fans, without whom our music is of little value...
_Mike
Sirusjr
11-30-2009, 10:36 PM
Is there any way to arrange a setup where US fans can get the album without paying crazy Japanese import fees? I certainly am unlikely to preorder this at the CDJapan price of around $40 without giving it a listen notwithstanding the wonderful theoretical talk about how symphonic it will be.
mverta
11-30-2009, 10:52 PM
$40?!! Don't blame you. I'm off to Tokyo tomorrow for the premiere and press stuff, and I'll be meeting with Sony, so I'll be sure to ask and express your feelings.
$40. As if.
_Mike
$40. As if.
_Mike
Sirusjr
11-30-2009, 10:55 PM
Of course CDJapan does list a Limited Edition version of the soundtrack that it says is 3300 yen and equates that to $38. Either way I pay that much for a 4cd import video game soundtrack and would have to be mighty impressed to spend that much for anything other then the next Angela Aki album.
(As an aside, first press limited editions are usually $5 or so more than the regular version from my experience)
(As an aside, first press limited editions are usually $5 or so more than the regular version from my experience)
LordColin
12-01-2009, 12:28 AM
LordColin: Thx a lot for your last post, great stuff indeed. But since the incident with the pissed-off member, I consider it not safe to post *new* movie scores.
Ok, I removed the post. It's only from importance to this thread right?
As for my music.. Im just finishing my website, wich also includes music, and when it is finished, I will upload some of my works to this thread ;)
Ok, I removed the post. It's only from importance to this thread right?
As for my music.. Im just finishing my website, wich also includes music, and when it is finished, I will upload some of my works to this thread ;)
garcia27
12-01-2009, 01:01 AM
Tytania, Glass Fleet and Resident Evil DC are that good i�m beginning to think its already christmas. Screw hollywood. Asia rules, cause it kicks all the bad scores in their jewels.
Ah, btw don�t get your hopes to high up for Horners Avatar score, i� ve already heard it and even as a fan of him i am not (very) impressed. Too modern and too cliche. With a few highlights.
There are some good scores or at least scores that I liked:
Dust Of Time by Eleni Karaindrou
Inkheart by Javier Navarrete
The Young Victoria by Ilan Eshkeri
Coraline by Bruno Coulais
Star Trek by Michael Giacchino
Up by Michael Giacchino
Drag me to the Hell by Christopher Young
Knowing by Marco Beltrami
Mutant Chronicles by Richard Wells
Let the Right One In by Johan S�derqvist
Red Canvas by James Peterson
Amelia by Gabriel Yared
Twilight: New Moon by Alexandre Desplat
Agora by Dario Marianelli
and I liked the one minute samples for Avatar, at least something special by Horner!
Ah, btw don�t get your hopes to high up for Horners Avatar score, i� ve already heard it and even as a fan of him i am not (very) impressed. Too modern and too cliche. With a few highlights.
There are some good scores or at least scores that I liked:
Dust Of Time by Eleni Karaindrou
Inkheart by Javier Navarrete
The Young Victoria by Ilan Eshkeri
Coraline by Bruno Coulais
Star Trek by Michael Giacchino
Up by Michael Giacchino
Drag me to the Hell by Christopher Young
Knowing by Marco Beltrami
Mutant Chronicles by Richard Wells
Let the Right One In by Johan S�derqvist
Red Canvas by James Peterson
Amelia by Gabriel Yared
Twilight: New Moon by Alexandre Desplat
Agora by Dario Marianelli
and I liked the one minute samples for Avatar, at least something special by Horner!
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