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I have listened to this from start to finish multiple times since getting it in. I will be revisiting this often. So thankful for this release. The Chase has been my recent favorite.
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I have listened to this from start to finish multiple times since getting it in. I will be revisiting this often. So thankful for this release. The Chase has been my recent favorite.
Since I don't have it yet, wanted to ask; Is there music in the ‘score presentation’ that was not used in the finished film?
Yes. Mentioned a few posts above there is a pretty good breakdown. Those tracks sound great too. It's all pretty good.
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Posted: |
Jun 24, 2022 - 7:26 AM
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By: |
mikael488
(Member)
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For those interested, according to the notes, Sylvester Levay did a lot of work on this score, "adapting and underscoring" the main themes Moroder wrote during "spotting session in New York" (Greiving 13). It turns out Moroder wanted to focus more on the songs after composing the main themes.
If you like that fat, warm, saturated analog synthesizer sound, this is the soundtrack for you! They used the Roland MKS-80 Super Jupiter, Oberheim OB-8, and, the legendary monophonic beast, the Minimoog.
Hi guys
I don't know what the liner notes say but besides Levay, there were two other arrangers/synth players who worked on the underscore and songs; namely Kristian Schultze (RIP) and Arthur Barrow.
I emailed with both of them several years ago and here's some excerpts from those emails...
Arthur Barrow:
"I was working on Scarface as arranger, keyboards and bass. I worked mostly on the source music (songs played in disco, etc.). I worked a little on the score, and I can remember specifically working on the cubans arriving in the boat scene (Mikael: the great cue that kicks in after the intro chords).
I used all analog synths at the time - Roland jupiter 8 mostly, along with my Serge Modular a bit, too. Another guy (Sylvester?) did most of the underscore. I think Sylvester had access to the synclavier for his Scarface work, but it would have been big fm, dx7 like sounds, not samples.We also used a Linndrum - digital, of course.
We (Richie Zito and I) definitely had a big, strong sound, I must say. We were Moroder's "band", you could say. That was a fun time!"
Kristian Schultze:
"I remember that I worked quite a bit on the scoremusic of scarface after Sylvester finished and left LA and Giorgio - I scored some takes because of a lot of edits that had to be done to get a movieversion that could pass the censoring (the original version had too much slaughter in it to get the permission to be played in public cinemas!!).I stayed some month with Giorgio Moroder and worked as sub-composer,arranger and keyboarder - did the entire scoremusic for the comedy "DC-cab" and some work on "Metropolis.
As far as I remember I played a Yamaha CS80 on "Tony's theme" - no other synth was able to produce such strong fat padsounds - due to the genious filter and the individual touch-response of that instrument.I guess I layered three or four custommade padsounds with slightly different speeds for modulation (pwm mostly).
Actually we extracted quite a lot of stems (different remixes) of the main title of scarface where I played on - it was a 48 track (2 studers synchronized) production containing a lot of sounds which then have been mixed in different ways to fit the screen!
Yes we used the linndrum in combination with Fairlight-percussionsounds,
my own Fairlight Ser.II which I transported to Giorgio's place in LA, together with my custom library on those big disks!!!!, a Minimoog and Yamaha CS-80...I remember that I hired a CS80 because that was cheaper than to transport this heavy weight!!!"
Oh...by the way, I highly doubt that a Roland MKS-80 super jupiter was used on this score, because that model wasn't released until a whole year or so after Scarface was recorded. I'm sure they meant the Jupiter-8, that was Moroder's favorite synth at the time and I know he owned one along with a Synclavier II, Prophet 5 and Yamaha DX-7.
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Posted: |
Jun 24, 2022 - 7:52 AM
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By: |
ray92
(Member)
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For those interested, according to the notes, Sylvester Levay did a lot of work on this score, "adapting and underscoring" the main themes Moroder wrote during "spotting session in New York" (Greiving 13). It turns out Moroder wanted to focus more on the songs after composing the main themes.
If you like that fat, warm, saturated analog synthesizer sound, this is the soundtrack for you! They used the Roland MKS-80 Super Jupiter, Oberheim OB-8, and, the legendary monophonic beast, the Minimoog.
Hi guys
I don't know what the liner notes say but besides Levay, there were two other arrangers/synth players who worked on the underscore and songs; namely Kristian Schultze (RIP) and Arthur Barrow.
I emailed with both of them several years ago and here's some excerpts from those emails...
Arthur Barrow:
"I was working on Scarface as arranger, keyboards and bass. I worked mostly on the source music (songs played in disco, etc.). I worked a little on the score, and I can remember specifically working on the cubans arriving in the boat scene (Mikael: the great cue that kicks in after the intro chords).
I used all analog synths at the time - Roland jupiter 8 mostly, along with my Serge Modular a bit, too. Another guy (Sylvester?) did most of the underscore. I think Sylvester had access to the synclavier for his Scarface work, but it would have been big fm, dx7 like sounds, not samples.We also used a Linndrum - digital, of course.
We (Richie Zito and I) definitely had a big, strong sound, I must say. We were Moroder's "band", you could say. That was a fun time!"
Kristian Schultze:
"I remember that I worked quite a bit on the scoremusic of scarface after Sylvester finished and left LA and Giorgio - I scored some takes because of a lot of edits that had to be done to get a movieversion that could pass the censoring (the original version had too much slaughter in it to get the permission to be played in public cinemas!!).I stayed some month with Giorgio Moroder and worked as sub-composer,arranger and keyboarder - did the entire scoremusic for the comedy "DC-cab" and some work on "Metropolis.
As far as I remember I played a Yamaha CS80 on "Tony's theme" - no other synth was able to produce such strong fat padsounds - due to the genious filter and the individual touch-response of that instrument.I guess I layered three or four custommade padsounds with slightly different speeds for modulation (pwm mostly).
Actually we extracted quite a lot of stems (different remixes) of the main title of scarface where I played on - it was a 48 track (2 studers synchronized) production containing a lot of sounds which then have been mixed in different ways to fit the screen!
Yes we used the linndrum in combination with Fairlight-percussionsounds,
my own Fairlight Ser.II which I transported to Giorgio's place in LA, together with my custom library on those big disks!!!!, a Minimoog and Yamaha CS-80...I remember that I hired a CS80 because that was cheaper than to transport this heavy weight!!!"
Oh...by the way, I highly doubt that a Roland MKS-80 super jupiter was used on this score, because that model wasn't released until a whole year or so after Scarface was recorded. I'm sure they meant the Jupiter-8, that was Moroder's favorite synth at the time and I know he owned one along with a Synclavier II, Prophet 5 and Yamaha DX-7.
Hi Mikael488!
Thanks for sharing. It's educational!
I think that those who have this physical release can tell us there is (or is not) this info in boocklets.
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Posted: |
Jun 24, 2022 - 7:56 AM
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By: |
moroder20
(Member)
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For those interested, according to the notes, Sylvester Levay did a lot of work on this score, "adapting and underscoring" the main themes Moroder wrote during "spotting session in New York" (Greiving 13). It turns out Moroder wanted to focus more on the songs after composing the main themes.
If you like that fat, warm, saturated analog synthesizer sound, this is the soundtrack for you! They used the Roland MKS-80 Super Jupiter, Oberheim OB-8, and, the legendary monophonic beast, the Minimoog.
Hi guys
I don't know what the liner notes say but besides Levay, there were two other arrangers/synth players who worked on the underscore and songs; namely Kristian Schultze (RIP) and Arthur Barrow.
I emailed with both of them several years ago and here's some excerpts from those emails...
Arthur Barrow:
"I was working on Scarface as arranger, keyboards and bass. I worked mostly on the source music (songs played in disco, etc.). I worked a little on the score, and I can remember specifically working on the cubans arriving in the boat scene (Mikael: the great cue that kicks in after the intro chords).
I used all analog synths at the time - Roland jupiter 8 mostly, along with my Serge Modular a bit, too. Another guy (Sylvester?) did most of the underscore. I think Sylvester had access to the synclavier for his Scarface work, but it would have been big fm, dx7 like sounds, not samples.We also used a Linndrum - digital, of course.
We (Richie Zito and I) definitely had a big, strong sound, I must say. We were Moroder's "band", you could say. That was a fun time!"
Kristian Schultze:
"I remember that I worked quite a bit on the scoremusic of scarface after Sylvester finished and left LA and Giorgio - I scored some takes because of a lot of edits that had to be done to get a movieversion that could pass the censoring (the original version had too much slaughter in it to get the permission to be played in public cinemas!!).I stayed some month with Giorgio Moroder and worked as sub-composer,arranger and keyboarder - did the entire scoremusic for the comedy "DC-cab" and some work on "Metropolis.
As far as I remember I played a Yamaha CS80 on "Tony's theme" - no other synth was able to produce such strong fat padsounds - due to the genious filter and the individual touch-response of that instrument.I guess I layered three or four custommade padsounds with slightly different speeds for modulation (pwm mostly).
Actually we extracted quite a lot of stems (different remixes) of the main title of scarface where I played on - it was a 48 track (2 studers synchronized) production containing a lot of sounds which then have been mixed in different ways to fit the screen!
Yes we used the linndrum in combination with Fairlight-percussionsounds,
my own Fairlight Ser.II which I transported to Giorgio's place in LA, together with my custom library on those big disks!!!!, a Minimoog and Yamaha CS-80...I remember that I hired a CS80 because that was cheaper than to transport this heavy weight!!!"
Oh...by the way, I highly doubt that a Roland MKS-80 super jupiter was used on this score, because that model wasn't released until a whole year or so after Scarface was recorded. I'm sure they meant the Jupiter-8, that was Moroder's favorite synth at the time and I know he owned one along with a Synclavier II, Prophet 5 and Yamaha DX-
7.
Bravo ,Bravo, Bravo ...Mkael488
So I was right
there were alternative versions in addition that we heard in the making of the dvd of 2003 special edition 2 disc
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Posted: |
Jun 24, 2022 - 10:17 AM
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By: |
DJS
(Member)
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Kristian Schultze:
As far as I remember I played a Yamaha CS80 on "Tony's theme" - no other synth was able to produce such strong fat padsounds - due to the genious filter and the individual touch-response of that instrument.I guess I layered three or four custommade padsounds with slightly different speeds for modulation (pwm mostly).
Actually we extracted quite a lot of stems (different remixes) of the main title of scarface where I played on - it was a 48 track (2 studers synchronized) production containing a lot of sounds which then have been mixed in different ways to fit the screen!
Yes we used the linndrum in combination with Fairlight-percussionsounds,
my own Fairlight Ser.II which I transported to Giorgio's place in LA, together with my custom library on those big disks!!!!, a Minimoog and Yamaha CS-80...I remember that I hired a CS80 because that was cheaper than to transport this heavy weight!!!"
Synth gearheads should be happy to know Behringer is working on a CS-80 clone (and possibly a mini). The last sentence from the DV, however, is not very comforting lol!
"We have some exciting update on the DS-80 development. Our lead engineer John Price spent nearly two years recreating the magical CS-80 voice board and transform it into a modern design, while retaining the authentic behavior or the original circuitry. This board is now ready to be tested.
We have completed the voice 'bread board', which is the final step before moving to the actual design of the synthesizer.
This board serves as test and evaluation platform to compare its performance with the original voice board. As you can see, the board contains two voices, and also the digital control section including the powerful ARM processor, plus the VR’s that represent the temporary front panel controls.
For a complete DS-80 we would need 8 of these boards, which shows you the insane amount of complexity and components.
Because this is one of the most complex synthesizer ever designed, we’re still a long way from delivering a final product, but we hope you’ll find this interesting.
Wish us luck with this ambitious project - there is also a substantial risk that we won’t succeed."
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Posted: |
Jul 1, 2022 - 8:58 AM
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By: |
Phil567
(Member)
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I received my copy of Scarface in the mail and have played it a couple of times. I do enjoy it. I've never seen the movie. Just hearing the music, I wouldn't have guessed the subject matter of the film. I was surprised at how much I enjoyed the original soundtrack album.
I immediately looked up the songs in my Billboard reference books and all I could find was "Rush Rush" by Debbie Harry (b/w "Dance Dance Dance" by Beth Andersen) peaking at #105 on the Bubbling Under The Hot 100 chart, and "Rush Rush" (the 12 inch single) peaking at #28 on the Dance/Disco Top 80 chart.
My books don't cover the other charts like country western, soul, Latin, gospel etc. so I don't know about those.
All in all, I am delighted with my purchase.
Now if we could only get an expanded release of American Gigolo...I would love to have, for example, "Call Me" with the slow, haunting music that leads into it during the opening credits.
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