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| This is a comments thread about FSM CD: Star Trek: The Next Generation: The Ron Jones Project |
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Posted: |
Mar 2, 2011 - 11:40 PM
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By: |
Tom Servo
(Member)
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All this talk of low-key music dovetails directly with the discussion of the score to 'The Social Network'- low-key and ambienty, as much sound design as music.
David Fincher has asked for this style from several composers including David Shire, and Steven Soderbergh also asks this of Cliff Martinez (fewer notes, fewer!). Apparently Christopher Nolan also expects this. And these guys are some of the most influential directors working today. Howard Shore did this for a long time for David Cronenberg.
Maybe Berman was just ahead of the curve (Never mind Bernard Herrmann's contribution years before Berman ran ST.).
While the work that these directors and producers have asked of their composers generally works in the context of the pictures they produce, it does beg the question of whether it advances the art of making music for film/TV.
But you have to ask yourself, what exactly does advance the art of making music for film/TV? Is it whether the music works in the program or works on album as a separate listening experience? At the end of the day, its only goal is to work within the boundaries of the films and TV shows they underscore and if that proves to be effective, then it is job well done. Having the result also be an album of music you can listen to apart from said film/TV show is not necessary to this, whether we like it or not, and thus may not itself really advance the art form.
As far as ambient scores like "Social Network" are concerned, there are people out there who really enjoy them. Should they be discounted and dismissed just because fans of old school orchestral film scores are upset at changing musical tastes? And of course, I say this as one of those old school fans, but I can certainly acknowledge the fact that nothing ever stays the same and music for film & TV has changed and probably won't ever shift back towards what we grew up with.
Anyway... I still love my Ron Jones TNG box set. And lay off Rick Berman, the man did wind up producing some winning seasons of both TNG and DS9. Fans always think they can do better and yet when they try, i.e. fan fiction and fan films, the result is ALWAYS terrible, ham-fisted, obvious and derivative. Being a fan of a show doesn't mean one has any talent at all to make creative decisions for said show. TV producers being slave to their fanbases only will never produce a good product because every decision made to please one guy will upset another.
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Hey Lukas,
That's very interesting about the digital downloads. I think it's great that you guys are looking at expanding into digital downloads, etc for distribution. I am a huge fan of the physical product (I own the TNG set) but it's inevitable that distribution will move more and more digital. While I don't want it to REPLACE physical products, I think our beloved labels will be missing out on potential revenue by ignoring digital distribution where possible.
Having said that, score fans/lovers/collectors are often quite particular about audio quality. Have you considered finding a distribution model that would allow for LOSSLESS downloads as opposed to lossy mp3 (Amazon) or lossy m4a (iTunes). FLAC/Wav/Apple Lossless downloads would be the only way I could embrace digital downloads.
Just curious if you guys have considered it.
Thanks!
It's beyond my power right now to create a lossless digital delivery system, sorry!
We have a lossless physical product or lossy downloads, those are the choices. And they were hard enough to execute!
Thanks
Lukas
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Posted: |
May 5, 2011 - 12:37 PM
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By: |
Tom Servo
(Member)
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My reply in brief: Discs 2 and 9
My reply at length: Suggestions such as these are of course subjective and much of your decision on which discs depends on your own familiarity with the series and Jones' music. Each disc features great scores, but some standout above others, whether due to the variety of content, memorable melodies, interesting sonorities or kinetic action material. Two discs to select out of 14 is really tough and hopefully you will be able to swing back around later and grab a few more!
I think you need one disc from the first season simply to hear how Jones started out, how bold and expressive the music was and how colorful the synth component was, similar to the strong synth element in Jerry Goldsmith's music from '83-'87. Disc 2 has two of my favorites, "Datalore" and "11001001", both with great melodies, action, and wonderful use of both Courage and Goldsmith Trek themes. Disc 9 will help provide an idea of what changed in Jones' music but also what remained. It features excellent variety of content, from the Romulan theme in "The Defector", the action highlights of "The High Ground" and the heartbreaking emotions of "The Offspring".
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