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Posted: |
Dec 14, 2018 - 8:56 AM
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By: |
mikael488
(Member)
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Not seen these pictures before. Wow! Great share. What is the history behind these? Fascinating.
The pictures come from the august 1977 issue of ARPeggio which contains an article on Jerry Goldsmith. The ARPeggio newsletter was published circa 1973-1980 by the ARP company for ARP synthesizer owners and fans.
Here's the accompanying text:
Academy Award
winner Jerry Goldsmith scores top film soundtracks with ARP
HOLLYWOOD, CA (ARP}-lf you've gone to a movie in the past ten years, chances are you've heard the music of Jerry Goldsmith. And you may have heard one of his ARP synthesizers,
too.
Goldsmith, who recently won an Oscar for THE OMEN as best original motion picture score, utilizes a large ARP 2500 and an ARP 2600 synthesizer when composing for a film. His home studio is equipped with a video cassette player which he uses to run scenes repeatedly while he tries out various background melodies on acoustic and electric piano and his ARPs.
During his career he has composed music for some 70 films and has been nominated 8 times for an Academy Award. Some of his many scores include those for CHINATOWN. THE WIND AND THE LION. PLANET OF THE APES. PATTON. SEVEN DAYS IN MAY. A PATCH OF BLUE. LONELY ARE THE BRAVE. THE SAND PEBBLES. PAPILLON, LOGAN'S RUN. ISLANDS IN THE STREAM, and THE CASSANDRA CROSSING.
Jerry started out in the CBS music department, writing scores for radio programs like SUSPENSE. In 1955 when CBS needed a musical score for an hour-long TV series called
CLIMAX. Goldsmith was put under contract as a composer. From there he progressed to writing music for STUDIO ONE and PLAYHOUSE 90. both "live" dramatic programs, and
eventually wound up writing for films. More than 100 feature films are made each year, and
he is in great demand by the top studios for his ability to produce outstanding music in a high
pressure field.
More and more of his music utilizes the sound of the synthesizer, and Jerry admits that the ARP synthesizer has become a regular fixture in his work. If this is so. then the best of
Jerry Goldsmith is yet to be heard.
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Posted: |
Dec 15, 2018 - 1:34 AM
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By: |
Gold Digger
(Member)
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Not seen these pictures before. Wow! Great share. What is the history behind these? Fascinating.
The pictures come from the august 1977 issue of ARPeggio which contains an article on Jerry Goldsmith. The ARPeggio newsletter was published circa 1973-1980 by the ARP company for ARP synthesizer owners and fans.
Here's the accompanying text:
Academy Award
winner Jerry Goldsmith scores top film soundtracks with ARP
HOLLYWOOD, CA (ARP}-lf you've gone to a movie in the past ten years, chances are you've heard the music of Jerry Goldsmith. And you may have heard one of his ARP synthesizers,
too.
Goldsmith, who recently won an Oscar for THE OMEN as best original motion picture score, utilizes a large ARP 2500 and an ARP 2600 synthesizer when composing for a film. His home studio is equipped with a video cassette player which he uses to run scenes repeatedly while he tries out various background melodies on acoustic and electric piano and his ARPs.
During his career he has composed music for some 70 films and has been nominated 8 times for an Academy Award. Some of his many scores include those for CHINATOWN. THE WIND AND THE LION. PLANET OF THE APES. PATTON. SEVEN DAYS IN MAY. A PATCH OF BLUE. LONELY ARE THE BRAVE. THE SAND PEBBLES. PAPILLON, LOGAN'S RUN. ISLANDS IN THE STREAM, and THE CASSANDRA CROSSING.
Jerry started out in the CBS music department, writing scores for radio programs like SUSPENSE. In 1955 when CBS needed a musical score for an hour-long TV series called
CLIMAX. Goldsmith was put under contract as a composer. From there he progressed to writing music for STUDIO ONE and PLAYHOUSE 90. both "live" dramatic programs, and
eventually wound up writing for films. More than 100 feature films are made each year, and
he is in great demand by the top studios for his ability to produce outstanding music in a high
pressure field.
More and more of his music utilizes the sound of the synthesizer, and Jerry admits that the ARP synthesizer has become a regular fixture in his work. If this is so. then the best of
Jerry Goldsmith is yet to be heard.
Many thanks for posting.
Really enjoying this Intrada disc. The anomalies with some of the cues is minor to my ears and I listen on headphones. The stereo cues are very welcome as they make me appreciate the synth work now. I previously found them a jarring listening experience. To properly hear the lovely main theme and the evolution of it over the running time of the score feels like discovering this music for the first time. Such an important and great release from Intrada. So great Armin Steiner saved the score.
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Was it rerecorded for the movie, or was it taken directly from the ID master tapes????
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Many thanks for posting.
Really enjoying this Intrada disc. The anomalies with some of the cues is minor to my ears and I listen on headphones. The stereo cues are very welcome as they make me appreciate the synth work now. I previously found them a jarring listening experience. To properly hear the lovely main theme and the evolution of it over the running time of the score feels like discovering this music for the first time. Such an important and great release from Intrada. So great Armin Steiner saved the score.
Armin Steiner did what now?
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A very exciting and different score from the norm.
I like it but may need to see the film before deciding to buy it.
Brm
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I'm not sure if I'm the only one to hear that but ... if you listen carefully, you might find common points between PETER PROUD and BAD GIRLS main themes.
Does anyone agree?
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