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As has been well discussed here, the orchestral parts of the score are supposed to be fully intact, and don't need to be re-recorded. It's only the synth overlays which need replacing (unless they are found somewhere). A full Tadlow recording, however nicely done, would still need to do the synths again regardless. Restoring Goldsmith's origanal recording would be preferable, and cheaper.
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The big question to me is whether any documentation exists of how Goldsmith wrote the synth cues. Are they written in sheet form? Did he make notes on the synthesizer programming he used? Or did he just make stuff up in his studio and plop it in willy-nilly. I think he was too exacting a composer to be so random, they should be part of the music sheets. My point is, is there a guideline to recreating this stuff, or would somebody have to do it by ear? The fellow who made the YouTube recording I initially posted must have done it by ear, and pretty well, too. But someone working with sheets and notes would be highly preferable.
The same situation exists for The Reincarnation of Peter Proud, where in my ignorant opinion recreating the synths, which are much, much more elaborate than Damnation Alley, would be a dubious task by ear. That score is designed to showcase the electronics, whereas Damnation Alley mostly uses them as sweeteners.
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Ugly, badly-dated and badly-judged.
OOOOOooofff!!!!
Throughout his career Goldsmith explored sound manipulation and strange effects, always to great effect. I don't think it was any different with his electronics. Although when he discovered Yamaha synthesizers in the early 80's, he did start to rely on them excessively, creating scores that were a little less distinctive. My understanding is that he even became an official spokesperson for Yamaha, and went to trade shows on their behalf. Although during the time period when he did Peter Proud, Logan's Run and Damnation Alley, and earlier in The illustrated Man, the sound quality of synthesizers would still have been considered rather unique and exotic. They became overused perhaps in cheaper scores, lending to them an association with cheesiness.
But you can't remove them without altering the composer's intent. It's the "mixing bowls" issue again. It's what the guy wrote.
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Surely if the orchestral music still exists, it can't be that difficult to hire a synth professional to recreate those parts officially?
Even at a cost of a few $k a month, you only need one guy with his electronic wizardry to make as faithful a recreation as possible, and then just mix them in with the existing material.
Cheaper than the usual costs of hiring a large ensemble orchestra.
What about the people that did the synth re-recordings of Blade Runner or The Thing for BSX?
In regards to this project I've been saying the EXACT same thing for YEARS.
The Scores seem to exist, I'm told they have noted the keyboards he was using for the score and even a few of the settings as well (I could be wrong here)..
You find out who performed those parts from the AFM (Some of them may well still be around so you can ask them questions)
In short, there are very talented folks out there who LIVE to recreate those old sounds and would love a chance to work on a project like this recreating those sounds for this recording.
All someone needs is the VISION and the Funds to do it.
Ford A. Thaxton
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Surely if the orchestral music still exists, it can't be that difficult to hire a synth professional to recreate those parts officially?
Even at a cost of a few $k a month, you only need one guy with his electronic wizardry to make as faithful a recreation as possible, and then just mix them in with the existing material.
Cheaper than the usual costs of hiring a large ensemble orchestra.
What about the people that did the synth re-recordings of Blade Runner or The Thing for BSX?
In regards to this project I've been saying the EXACT same thing for YEARS.
The Scores seem to exist, I'm told they have noted the keyboards he was using for the score and even a few of the settings as well (I could be wrong here)..
You find out who performed those parts from the AFM (Some of them may well still be around so you can ask them questions)
In short, there are very talented folks out there who LIVE to recreate those old sounds and would love a chance to work on a project like this recreating those sounds for this recording.
All someone needs is the VISION and the Funds to do it.
Ford A. Thaxton
This would be a very interesting project and as far as I know a real premiere. I don`t think something like that has ever been done (add missing and newly recorded synth elements on existing orchestral parts). I can imagine that it`s quite challenging to faithfully recreate the exact synth sound of those missing elements. I just hope it`ll happen sooner or later.
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Forget using syns and could be tadlow doing. Why doesn't tadlow do this instead of blue max???
Because it's their (his, actually—James Fitzpatrick's) money and he wanted to spend it on THE BLUE MAX. It's that simple.
I'd like to think DAMNATION ALLEY might be done—synths and all, though—and in fact I'd be surprised if it hasn't at least crossed Luc Van De Ven's mind, he being such a Goldsmith fan and the other key financier and customer of Tadlow's recording services.
So, you never know.
Me, yes, I'd like to see this and also THE SATAN BUG. But synths and all. Create it properly or not at all.
Cheers
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