While I stand by my initial reaction that the score in the first episode was distracting, I have to admit that, now having settled into the approach after watching two episodes and listened to the score tracks apart from the show, it's really growing on me. Especially the main Mandalorian motif, which takes more inspiration from Morricone than Williams.
While I stand by my initial reaction that the score in the first episode was distracting, I have to admit that, now having settled into the approach after watching two episodes and listened to the score tracks apart from the show, it's really growing on me. Especially the main Mandalorian motif, which takes more inspiration from Morricone than Williams.
I still found it really distracting. I think the problem is the music never seems to rhythmically match what's occurring on screen and so many moments that would be best scored with silence or quiet music are over-scored with noise.
I think you're right that it's very Morricone, right down to the woodwind theme from A Fistful of Dollars.
But I still think it's a score just like BORDERLANDS from 2009 or any other ambient videogame soundtrack. From BORDERLANDS, listen to "Enter Skag Gully", "Removing the Bandit Threat", "Traversing the Deep", "The Junkyard Vista", "Welcome to the Trash Coast", "Trash the Bandits", or "Bring Your Guns". ANY ONE of those tracks could be swapped into The Mandalorian and they'd kick butt and you wouldn't know the difference. "Bring Your Guns" even has a woodwind theme just like in The Mandalorian.
That's why I'm not really impressed with the music in the show.
What the hell is BORDERLANDS, and why is it all over these MANDOLORIAN threads???
The Mando score...its par for 2019. The macro for 'crescendo' has to have some ease of use for these composers to use endlessly....or they keep accidentally adding it, and forget to clear them? Or their program keeps adding it, like a virus? Effing crescendos..... The duduk motif sounds like an unfinished attempt at Goldsmith. Its nothing we'll remember in 5 years. I'm going to bed.
What the hell is BORDERLANDS, and why is it all over these MANDOLORIAN threads???
The Mando score...its par for 2019. The macro for 'crescendo' has to have some ease of use for these composers to use endlessly....or they keep accidentally adding it, and forget to clear them? Or their program keeps adding it, like a virus? Effing crescendos..... The duduk motif sounds like an unfinished attempt at Goldsmith. Its nothing we'll remember in 5 years. I'm going to bed.
BORDERLANDS is a 2009 videogame that has an atmosphere just like MANDALORIAN and the music sound exactly like MANDALORIAN but in some cases better.
You're right that Mandalorian's score is par for 2019, and in comparison to Borderlands, Mandalorian score is 10 years late being... meaning it's not very unique or interesting at all. It's just "new" for a Star Wars story.
Pick The Bill Conty track "Going The Distance" pitch up to 7 and slowdown to 7bpm. Play together the same track : https://soundcloud.com/5kiem/plagiat01
Pick The Bill Conty track "Going The Distance" pitch up to 7 and slowdown to 7bpm. Play together the same track : https://soundcloud.com/5kiem/plagiat01
Brilliant, 5kiem !!
This is a perfect example why today's "young guns" aren't real composers, they're just very good with computers.
Pick The Bill Conty track "Going The Distance" pitch up to 7 and slowdown to 7bpm. Play together the same track : https://soundcloud.com/5kiem/plagiat01
So what, plagiarism ?? Goransson's track bears a close resemblance to Conti's "Going the distance", stylistically at least obviously, but you can't go that far, come on...
Pick The Bill Conty track "Going The Distance" pitch up to 7 and slowdown to 7bpm. Play together the same track : https://soundcloud.com/5kiem/plagiat01
So what, plagiarism ?? Goransson's track bears a close resemblance to Conti's "Going the distance", stylistically at least obviously, but you can't go that far, come on...
"A close resemblance ...Stylistically" ???? no way, he used current process (pitch up or down, change BPM, exactly the same kick, change 2 notes, delayed the starting of the melody) to make up the plagirism like Pharell Williams with Marvin Gaye.
Pick The Bill Conty track "Going The Distance" pitch up to 7 and slowdown to 7bpm. Play together the same track : https://soundcloud.com/5kiem/plagiat01
So what, plagiarism ?? Goransson's track bears a close resemblance to Conti's "Going the distance", stylistically at least obviously, but you can't go that far, come on...
"A close resemblance ...Stylistically" ???? no way, he used current process (pitch up or down, change BPM, exactly the same kick, change 2 notes, delayed the starting of the melody) to make up the plagirism like Pharell Williams with Marvin Gaye.
Slightly looking forward to the day I see some of this. Be a while. We don't have a service that carries it. But I'm getting the impression they're doing some sort of Dollars series within the SW world. Given that Leone was one of Lucas' inspirations I'm cool with this. Depends how well sound and visuals alone work of course....
"However, Mark Stafford of Lee & Thompson, who’s worked as a music lawyer for 15 years, believes that—should he decide to go down that route—Harley would have a tough time winning a case.
'I think there are some similarities between the songs but I wouldn’t go so far as to say that there is substantial copying, which is what would be required to succeed on a claim, in the UK at least.'
When asked what qualifies as ‘substantial copying’, Stafford explains:
'Well to get home on a copyright infringement claim in the UK, you’d need to show that a substantial part of the original work has been copied in the allegedly infringing work. That would require evidence from an expert musicologist who would compare the two works and that evidence would then be relied upon at court. Obviously we don’t have that level of analysis here, but from a quick broad-brush comparison between the two songs, I think it would be difficult for the original copyright owner to succeed on an infringement claim.
'The ‘Blurred Lines’ decision in the States seems to have encouraged claims from rights holders alleging that their copyright has been infringed when really it’s just two similar sounding songs. The essence of popular music is that it takes inspiration from previous works – always has done, always will do.
'To go further than that and prove that copying has taken place, that’s a much higher threshold to reach. Whilst there are similarities between the two songs I don’t think a substantial part has been used so as to succeed on a claim in the UK.
'I wouldn’t go as far as to advise on the chances of success… there doesn’t appear to have been any copying of the lyrics for instance. Obviously there’s some similarity in the title – they both mention America but so do many songs, and the title is too short to attract protection in any event."
"However, Mark Stafford of Lee & Thompson, who’s worked as a music lawyer for 15 years, believes that—should he decide to go down that route—Harley would have a tough time winning a case.
'I think there are some similarities between the songs but I wouldn’t go so far as to say that there is substantial copying, which is what would be required to succeed on a claim, in the UK at least.'
When asked what qualifies as ‘substantial copying’, Stafford explains:
'Well to get home on a copyright infringement claim in the UK, you’d need to show that a substantial part of the original work has been copied in the allegedly infringing work. That would require evidence from an expert musicologist who would compare the two works and that evidence would then be relied upon at court. Obviously we don’t have that level of analysis here, but from a quick broad-brush comparison between the two songs, I think it would be difficult for the original copyright owner to succeed on an infringement claim.
'The ‘Blurred Lines’ decision in the States seems to have encouraged claims from rights holders alleging that their copyright has been infringed when really it’s just two similar sounding songs. The essence of popular music is that it takes inspiration from previous works – always has done, always will do.
'To go further than that and prove that copying has taken place, that’s a much higher threshold to reach. Whilst there are similarities between the two songs I don’t think a substantial part has been used so as to succeed on a claim in the UK.
'I wouldn’t go as far as to advise on the chances of success… there doesn’t appear to have been any copying of the lyrics for instance. Obviously there’s some similarity in the title – they both mention America but so do many songs, and the title is too short to attract protection in any event."
Exactly.
I guess you didn't actually listen the 2 songs in this case !
Almost all cases end up in a deal !!!! And clearly sometimes it’s better to not telling the truth about certain internal negotiation procedures (this is America $$$ ) I know perfectly how everything works because i was involved.
To be more precise in copyright infrigement cases, in a court case where two pieces of music are being examined will require the assistance of independent musicologists to shed light and inform. This works consist to analyse , the chord sequence (or harmony) the structure, tempo, instrumentation and overall ‘feel’, or mood. If the two are in different keys (as they usually are), one will be transposed into the same key as the other to facilitate comparison ! (like I made it for Mandalorian) They are particularly important in more marginal cases, where it may not be immediately obvious to the ear whether an infringement has been made. The opinions of musicologists take many pages of the case notes of some trials. like I said it before Ludwig Goransson used a make-up . Two exemples : one clearly a plagiarism (with a grammy Awards) and a other also very suspicious .
So, you think these court cases have had correct outcomes? You don't see a bad precedent set by the "Blurred Lines" ruling at all? You've "been involved" in these cases?
So, you think these court cases have had correct outcomes? You don't see a bad precedent set by the "Blurred Lines" ruling at all? You've "been involved" in these cases?
Not of these cases but a similar one against a HUDGE us singer & producer RNB. The story is very long but to resume all the stuff of my personnal friend (we are french) has been loot and have been modified (tune, pitch, tempo) and unfortunately lawsuit is filed within 3 years of the last infringing act and it was too late ( the opposing side taking advantage of us lack of experience/knowledge/money/) But we knew a US musicologist ans has explained who all the make-up works in music industry notably by famous compositor and it's scary !!!!!!
ahahaha very funny link. How many stupid case like that compared with cases involving, covered or negociated ?
You're talked before about bad precedent with "Blurred Lines", i'm also a producer and DJ and often i try in my set to bring to light this kind of cases and when you mix "Blurred Lines" and "Got to Give up" (with same tempo, same key) there is no doubt is more than "inspiration". listen to Richard Bush represented the Gay estate in the case (specialy the origin and the background of this case ) : https://traffic.libsyn.com/secure/force-cdn/highwinds/digitalmusicnews/DMN_podcast_EP01_Marvin_Gaye.mp3 Like i said it before if Pharell Williams ($150 million Net Worth) & Thicke had wanted prefered negociate a internal deal ( this is the usual procedure) we never heard talk about this story (like millions tracks or music score) For exemple i know for a fact like Bruno Mars have never copied existing parts of "Police" Why Jase Harley change suddenly his speech about Goransson composition "this is America"
Vincent, you have no idea, how the musical industry works in copyright
Don't worry about that, the industry should be a lot less worried than they are.
Vincent, you have no idea, how the musical industry works in copyright.
I find this line insulting, but putting that aside, let's look at what Rick Beato thinks. He's a producer who's been working in the industry for more than thirty years and—what do you know?—he's thinks the "Blurred Lines" ruling is bullshit, too…
He and Adam Neely are not the only ones who think this. Almost every working musician I know—IRL and whom I follow on YouTube—think these copyright claims are bogus.
Just because something is legal, doesn't make it right.
Vincent, you have no idea, how the musical industry works in copyright.
I find this line insulting, but putting that aside, let's look at what Rick Beato thinks. He's a producer who's been working in the industry for more than thirty years and—what do you know?—he's thinks the "Blurred Lines" ruling is bullshit, too…
He and Adam Neely are not the only ones who think this. Almost every working musician I know—IRL and whom I follow on YouTube—think these copyright claims are bogus.
Just because something is legal, doesn't make it right.
In this case of The Mandalorian, I so agree with you Vincent and Rick Beato! I would add that if we go down that path, then every single reggae song should be sued for copyright infringement.