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 Posted:   Oct 18, 2014 - 2:33 PM   
 By:   KevinSmith   (Member)



I know this video is from a while ago but I think it's worth discussing. Do composers really care where they record or what orchestra they record with? Between the Hollywood Studio Symphony and the various London orchestras, there's really no difference between them in terms of ability to perform the material.

You see James Horner playing up the theme of "not using American musicians" to make good on the American news but I think it makes no difference to him (or any composer) whether he's recording with American musicians or the London Symphony Orchestra.

As long as it's not the Hungarian State Opera Symphony of course... wink

 
 
 Posted:   Oct 18, 2014 - 4:54 PM   
 By:   BrenKel   (Member)

I wouldn't be so quick to berate the HSOO or any of its European counterparts. They may have performed the odd mistake here and there but in the whole they are very good.

There has also been the debate on who are the best out of the Hollywood musicians and the LSO (which is still regarded as our finest orchestra in the UK). Didn't Laurence Rosenthal liken the LSO to a Rolls Royce? ;-)

 
 
 Posted:   Oct 18, 2014 - 4:55 PM   
 By:   Bob DiMucci   (Member)

 
 Posted:   Oct 18, 2014 - 5:17 PM   
 By:   Wedge   (Member)

There has also been the debate on who are the best out of the Hollywood musicians and the LSO (which is still regarded as our finest orchestra in the UK). Didn't Laurence Rosenthal liken the LSO to a Rolls Royce? ;-)

He did indeed! In my notes for Intrada's 2-CD "Clash of the Titans." He specifically marveled at the balance of the players and the way they listened to each other.

 
 
 Posted:   Oct 18, 2014 - 5:59 PM   
 By:   OnyaBirri   (Member)

Of course they care. They care about studios and orchestras. Why wouldn't they?

 
 
 Posted:   Oct 18, 2014 - 6:27 PM   
 By:   counterpoint   (Member)

I guess that most composers care where they record the music but usually it`s not up to them to decide.
Composers who live in Los Angeles usually prefer to record in Los Angeles because they are part of the LA musician community, because the LA musicians are amazing and because during nervous post production it obviously is more convenient to record the music "at home" instead of flying to London for example.
But like I said it`s not a matter of the composer`s preference but a studio decision. Which is a big subject in Los Angeles at the moment since there are more studios than ever that are no AFM (musician union) signatory studios which means that they record wherever they wish. And they usually wish orchestras that offer a buyout deal. That means the studio pays the musicians once and then can do whatever they want with the music. Recording with union musicions in LA means that the studio has to pay the musicians additonal money when the film or the music is being distributed in the so called secondary market. In the casae of Hollywood blockbusters it can mean up to 2 million more. Which is the reason why non signatory studios such as Dreamworks, Lionsgate, Pixar or Marvel usually record in London while only the signatory studios like Universal, WB, Disney or Fox continue to record in Los Angeles.

Outside of Hollywood the situation is different of course. Take Morricone for example. He lives in Rome and prefers to record there.

 
 
 Posted:   Oct 19, 2014 - 1:44 AM   
 By:   Tobias   (Member)

I have no idea at all about this but I can guess that they do care. I think it may be just like with people, if they like to collaborate with someone then they continue their collaborations as much as they can. I think that also can be applied to an orchestra.

 
 
 Posted:   Oct 19, 2014 - 5:24 AM   
 By:   BrenKel   (Member)

There has also been the debate on who are the best out of the Hollywood musicians and the LSO (which is still regarded as our finest orchestra in the UK). Didn't Laurence Rosenthal liken the LSO to a Rolls Royce? ;-)

He did indeed! In my notes for Intrada's 2-CD "Clash of the Titans." He specifically marveled at the balance of the players and the way they listened to each other.


Yep that is where I remember reading it!

 
 
 Posted:   Oct 19, 2014 - 6:24 AM   
 By:   CinemaScope   (Member)

I suppose it depends on the composers personal circumstances. If he's based in LA, he might welcome a working trip to Europe, work with some new musicians, make some new contacts & friends.

 
 Posted:   Oct 19, 2014 - 6:38 AM   
 By:   SchiffyM   (Member)

Of course they care. They care about studios and orchestras. Why wouldn't they?

Exactly. As others here are saying, then decision can often be made for myriad reasons besides the composer's preference, but of course they care.

 
 Posted:   Oct 19, 2014 - 7:37 AM   
 By:   Henry Jones   (Member)

There has also been the debate on who are the best out of the Hollywood musicians and the LSO (which is still regarded as our finest orchestra in the UK). Didn't Laurence Rosenthal liken the LSO to a Rolls Royce? ;-)
Wedge wrote:
He did indeed! In my notes for Intrada's 2-CD "Clash of the Titans." He specifically marveled at the balance of the players and the way they listened to each other.

What a marvelous score and a wonderful performance, and I adore to listen to it while reading you note, John.

 
 
 Posted:   Oct 19, 2014 - 7:39 AM   
 By:   counterpoint   (Member)

I suppose it depends on the composers personal circumstances. If he's based in LA, he might welcome a working trip to Europe, work with some new musicians, make some new contacts & friends.

From what I`ve heard, most composers who are based in LA prefer recording in LA because they are part of the LA musician community, because LA musicians are among the best in the world and because post production is so rushed that flying to europe takes away valuable time that they can save when recording in LA. They don`t travel to a recording place for sightseeing or making friends but to get a job done on time.

But as I pointed out earlier it`s almost always the decision of the studio. And very often non AFM signatory studios like Dreamworks, Pixar, Marvel or Lionsgate chose London because it is a lot cheaper than LA while the signatory studios like Universal, Fox or WB have to record in LA.

 
 
 Posted:   Oct 20, 2014 - 10:14 AM   
 By:   Howard L   (Member)

When you talk about "where", it calls to mind that Herrmann insisted on recording Obsession in what, a church or cathedral or something. Gotta love them genius instincts with all their intuitive specifics. The result is art.

 
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