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 Posted:   Jun 21, 2022 - 2:41 PM   
 By:   Jeyl   (Member)


Yeah, I saw that - I just changed it to SOUNDTRACK in iTunes.


Oh, so did I. This is NOT an issue with the soundtrack. I just found it funny and wanted to point it out. I'm mostly used to soundtracks being mislabeled as 'Rock' but I've never come across 'Dance & House' before.

 
 Posted:   Jun 22, 2022 - 8:49 PM   
 By:   Peter Atterberg   (Member)

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.

 
 
 Posted:   Jun 23, 2022 - 12:14 AM   
 By:   Ray1992   (Member)

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?

 
 Posted:   Jun 23, 2022 - 1:16 PM   
 By:   arnie   (Member)

My favorite is CD 2, especially Push it to the limit Extended and Muzak 2

 
 
 Posted:   Jun 23, 2022 - 3:16 PM   
 By:   ssreverb   (Member)

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, the unused tracks are...

I Got the Yeyo (Unused Score, Replaced with tracked music)
Night Drive (Unused Score)
Proposal (Unused Score)

Cuban III (Unused Source)
Muzak 1, 2 & 3 (Unused Source)
Disco II (Unused Source)

Right Combination (Unused Song)
Success (Unused Song)

 
 
 Posted:   Jun 23, 2022 - 3:27 PM   
 By:   ssreverb   (Member)

Does anyone know what scene the original cue name "Tony Alone" is from? Is it part of this release under a different name? There is a scene late in the movie where he's sitting at the table piled with coke but that uses tracked music from "The World Is Yours", not sure there was unused music composed for that scene or not or if it's from somewhere else in the movie? All other cue titles on ascap seam to appear on this release.
NSBulk, do you know?

https://www.ascap.com/repertory#/ace/search/title/tony%20alone?at=false&searchFilter=ACE&page=1

 
 Posted:   Jun 23, 2022 - 5:30 PM   
 By:   NSBulk   (Member)

...not sure there was unused music composed for that scene or not or if it's from somewhere else in the movie?

There is no recording of any music for that scene on our tapes. In the film the cue is tracked as you mentioned with a very obvious edit.

 
 Posted:   Jun 23, 2022 - 11:34 PM   
 By:   Peter Atterberg   (Member)

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.

 
 
 Posted:   Jun 24, 2022 - 6:03 AM   
 By:   Ray1992   (Member)

Thanks Ssreverb and Peter!

 
 
 Posted:   Jun 24, 2022 - 7:26 AM   
 By:   mikael488   (Member)



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.

 
 
 Posted:   Jun 24, 2022 - 7:52 AM   
 By:   Ray1992   (Member)



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.smile

 
 
 Posted:   Jun 24, 2022 - 7:56 AM   
 By:   moroder20   (Member)



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

 
 Posted:   Jun 24, 2022 - 10:17 AM   
 By:   DJS   (Member)



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."

 
 
 Posted:   Jun 25, 2022 - 7:16 AM   
 By:   mikael488   (Member)

So is there any mention of Arthur Barrow and Kristian Schultze in the CD liner notes?

I mean, after all, their contributions to this score were as important as that of Sylvester Levay.

 
 Posted:   Jun 27, 2022 - 8:15 AM   
 By:   The Mutant   (Member)

Ooooh baby. Mine is being delivered tomorrow.


Edit

Just received and listening now - absolutely flawless. Bravo!


Cuban II is getting lots of play this summer

 
 
 Posted:   Jun 29, 2022 - 12:03 PM   
 By:   moroder20   (Member)

So is there any mention of Arthur Barrow and Kristian Schultze in the CD liner notes?

I mean, after all, their contributions to this score were as important as that of Sylvester Levay.


I received my cd today and they talk a little bit about kristian schultze.
here is what they say about him:
Kristian Schultze-a keyboardist from Munich-helped fill in some of the gaps.
They don't mention Arthur Barrow or Richie Zito, but their names are mentioned in the book.
Apart from that, they talk a lot about Levay.

 
 
 Posted:   Jun 29, 2022 - 12:56 PM   
 By:   moroder20   (Member)

I had the opportunity to listen to my holy grail for the first time ....
CD1 : the score of the movie is complete .
The sound is very clean and well mastered but on some tracks there is a little saturation in high Pitched Sounds ....track : Open fire ,Shooters
Some extra tracks unused in the movie : Night Drive,I Got The Yeyo...
Alternative track from elvira: Proposal
Trailer music is really nice with the electric guitar riffs and the suspenseful sounds that rise to a crescendo!!
CD2 : very good
nice sound, very clean that we hear for the extended version of push it to the limit .
A little disappointed for the track DISCO 1 : The version is longer normally
Muzak 2 is excellent, I love it
This is a great presentation of LA LA LAND RECORDS
One of the best soundtrack composed with synthesizer !!!!
In the book they say this:
Considering the film's lenghty running time, it's a fairly sparse score.
It's sparse,but in a very skilled way ,It came in at absolutely the right moment,and it left at the right moment . It was a very skilled score.

Too bad there weren't more source and alternative tracks as well as the movie version of push it to the limit and she's on fire
Maybe another version for 40th Anniversary in 2023 ???
Why not?
If the CDs sell well!
Like the movie DIE HARD in 2017 2cd
2018 3cd 30TH anniversary

 
 
 Posted:   Jun 30, 2022 - 1:00 PM   
 By:   Bond1965   (Member)


Too bad there weren't more source and alternative tracks as well as the movie version of push it to the limit and she's on fire
Maybe another version for 40th Anniversary in 2023 ???
Why not?
If the CDs sell well!
Like the movie DIE HARD in 2017 2cd
2018 3cd 30TH anniversary


Good luck with that.

My God some of you people are ridiculous.

James

 
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