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There area folks out there who are ELECTRONIC Geeks who LIVE to create those sounds from 60's,70's and 80's keyboards and synth's.
It might take a bit of time and finding the right person to do it, but it's very possible to recreate those sounds.
In theory it could be done, but I've yet to hear old analog synths convincingly recreated with modern technology.
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There area folks out there who are ELECTRONIC Geeks who LIVE to create those sounds from 60's,70's and 80's keyboards and synth's.
It might take a bit of time and finding the right person to do it, but it's very possible to recreate those sounds.
In theory it could be done, but I've yet to hear old analog synths convincingly recreated with modern technology.
You don't understand, there are folks who are re-creating and re-storing the original analog gear.
You'd be amazed at what these folks can do.
Ford A. Thaxton
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Stop talking about it, and start proving it! THEN maybe we'll understand. Goldsmith's synth sound is so bizarre and specific (if we're restricting this conversation to Peter Proud), I can't imagine anyone coming close to replicating those exact sounds.
I've heard plenty of retro-sounding electronic music recently, but recreating the Goldsmith electronics from that era is another story.
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Posted: |
Jul 16, 2013 - 1:22 PM
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By: |
DavidCorkum
(Member)
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I can't imagine anyone coming close to replicating those exact sounds.
Again, it's not been established if this task would have to be done by ear, or if Goldsmith documented what he did in as exacting way as with writing sheet music. If the Proud recordings were done in a recording studio with several synthesizer artists performing, as opposed to how Goldsmith later worked with synths, alone in his studio, then maybe all the necessary information is available somewhere. Of course, finding the original tapes is preferable. We need to hire a private detective.
Supposedly Proud was one of Goldsmith's personal favorites. This gets brought up a lot to no avail, but I don't suppose any of the labels ever asked the Goldsmith Estate if they have the tapes, or just the written documentation, sitting around there? They're probably tired of people asking such things. Goldsmith wasn't very interested in archiving his work. He may not have had the legal right to owning copies in the first place. But he should have had the sheet music.
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I dug out my old Music Library CD of this score today (61 minutes, 35 tracks) which came out in the ago, when CD's like this could be purchased from reputable traders, and for all the people clamouring for an official release, I would just like to say that if I had a like-sounding copy of Story of a Woman or Tom Sawyer expanded by Williams on CD, I would be one happy chappie.
The sound ain't the greatest, but it sure ain't that bad either!
Of course I can see why a real/proper release would be warranted, but as unofficial versions go, it's a fortunate listen for longing fans.
I've always been conflicted about this score.
I don't really like the main theme, although I think it's perfect for the film and subject matter, in it's bitter/twisted/dark/dangerous love mode.
The silly synths (all Love Shoppy from Logan's Run) ruin most of the tracks they impose upon for me, but also create the required wuzz for the time-bending tale.
Goldsmith nailed it perfectly, but it just doesn't do it for me on a personal pleasure scale.
I have always loved the bit in the middle though (tracks 11-14 or 16 on the CD) when two characters drive around town looking for clues and a church spire (I think). His travel/quest music for these scenes is great, culminating in a fantastic Goldsmith crescendo that only he could do in that way.
I also have the old LP, which split about 20 minutes of this score with 20 mins of the Islands in the Stream score tracks and this CD greatly improves the up and down sound of that one.
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Now here is a film that might work out better the second time around. That is except for the great Jerry Goldsmith score, any update on a remake?
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In issues 19 & 20 of the Soundtrack Collector's Newsletter, published in 1980, John Caps wrote an excellent article called The Ascent of Jerry Goldsmith. Here's what he wrote about Peter Proud:
" The ability to score for concept in a picture is even better tested in a film that has no cogent concept, no single idea of itself: The Reincarnation of Peter Proud. Goldsmith was obliged to create a whole voice for this weak movie, to become it's spokesman so that the whole film might, if it could, feed off of him. This was the silly story of a man who believed that he was murdered on a Massachusetts lake in some previous life. He set out to track down the facts of his own past, found that he was indeed murdered on the very lake he was visiting now and, inadvertently, recreated the whole incident. The script could not make much more of the plot than that - the players were flat in undeveloped roles and, although there was a rape, the murder, some nudity, and a spicing of occult, the film never even convinced us that it was serious.
Why Goldsmith signed on for the job is questionable for a start, but taking it in hand as he did, we find one of the most easily attractive, lyrically flowing scores he would do in the 1970's. It was a flute and piano score for the most part, backed by a standard string orchestra and a brace of synthetic sounds that mixed into Peter Proud's disturbing dream world. The mood Goldsmith provided was a sort of elegiac melodrama where Predestination is a sad necessity of life - at least Proud's life. It's Goldsmith's sympathy that sets the tone for the movie, that tells us how to take the story we're watching, and although the script gets worse as we go along, the music charms us closer.
The main tune was used in different guises - as pianos solos, as pulsing travel music while Proud looked for the home town his "other self" would recognize, and as a yearning string moment when Proud's doctor friend described reincarnation to him over the phone. Once he meets a "nice girl" during a game of tennis, a flowing new waltz tune for piano is introduced and it is reprised later by a lush string orchestra during their love scene on the cliff. All the while, even the love music reinforces the regretful, fated moodiness. The film absorbed some of that feeling from the music and at times seemed almost to be working. It was really only riding the ascent of Jerry Goldsmith. "
Not mentioned in the article is the form the theme takes during the infamous tub scene, which may be the saddest music Goldsmith ever wrote, trying to invest some very heavy emotion into the rather tawdry visuals.
I hope the Music Archeologists out there can someday locate the missing elements.
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) 