 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I'm not that familiar with the music, especially not the reasons why Goldsmith used the synths so vigorously to fill out the orchestra, but this would a GREAT re-recording, like Rio Conchos, done by the London Symphony Orchestra with possibly the synth parts played by their corresponding orchestral instruments.
I don't know how much the synths are a characteristic of the music but I'd imagine the LSO could level up the virtuosity of playing and make it sound really spectacular!
|
|
|
|
|
|
Love it, but man, would've been so much better with a London or Hollywood orchestra. I can see why Goldsmith stopped recording in Hungary, even with the money it saved. The orchestra was uninspired, and he could never quite get the orchestra/synth mix to sound natural and balanced.
Oddly enough, they did a pretty good job with King Solomon's Mines, a score that was far busier (and, I assume, more difficult from a musician's perspective) than the others. The sound was excessively bright and shrill (all of those recordings were rough), but they kept up with the notes, at least. People dress better for a first date than they do after a few years of marriage, I guess.
LSO would be absolutely breathtaking but I’d be happy even if it was a Tadlow rerecoding. They’ve done brilliantly with other Goldsmith scores.
|
|
|
|
|
|
LSO would be absolutely breathtaking but I’d be happy even if it was a Tadlow rerecoding. They’ve done brilliantly with other Goldsmith scores.
To my ear, Tadlow recordings are first class and would be difficult to better, even if the budget permitted an LSO recording.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Lionheart: The Epic Symphonic Score was a blind buy for me, so i was pretty surprised, and somewhat disappointed, to hear those 80s synths in an this symphonic score. Hopefully, we get a re-recording one day.
Well, if somebody re-recorded the score, the synthesizers would obviously still be there, as they are a part of the score.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
