I remember the hooplah about this score when it got a digital release a while back, but it sounded quite midi-based and generic to me, from the tracks I played. I'll have to give it another try
I remember the hooplah about this score when it got a digital release a while back, but it sounded quite midi-based and generic to me, from the tracks I played. I'll have to give it another try
Yes, same here. I get that the director/producers wanted a certain orchestral sound for the film, but that they didn't have the budget for it, so Wallace had to make do with samples. Good samples in this day and age, sure, but still audibly samples. You won't be able to convince me that this is the way to go, no matter how well the music is written. If you have limited music budget, go for something completely different that is composed on synth's terms. Or go for something more acoustic, but a smaller chamber ensemble. Or something else; a rock approach, maybe. Or a mix of these.
I believe I had this discussion with Joe Kraemer on this board a while back, whose last couple of things also suffered a bit from this.
Wallace seems like a talented fellow, so I don't doubt his chops. I believe he's repped by Peter here. I'm just not a fan of that approach to things.
A bit of double standards for me, perhaps, since the logo music to my own film music podcast very much adhers to this as well, but it's just a logo. An entire film is a bit different.
Yeah. Some of the earlier stuff I heard by Andrew Morgan-Smith sounds much stronger, samples-wise. Indeed, he even surprised me with his JEEPERS CREEPERS 3 score, which I would have sworn under oath was acoustic at times, so good was the tech being used. What I heard of this had no such foolery over me, if sample-based.
Fantastic and highly anticipated CD release. Best film score of last year IMHO. Pure 80ies/90ies old fashioned symphonic John Williams/Joel McNeely/John Debney like film music. Nice to get this music on CD besides its previous digital release only.
It‘s so tough. If the director and/or producer want „something orchestral“ but there’s no budget and you have the go as a composer, you‘ll either do it with samples or you don‘t. There‘s a whole lot of composers out there who will do it, period. It‘s another thing whether we are going to buy it as a soundtrack album and like what we hear. Usually no. As a composer you say yes or no or you find a mix. Technology has changed so much and it‘s all in your mac, no stand-alone samplers anymore. But still, mostly you can hear it.
I remember the hooplah about this score when it got a digital release a while back, but it sounded quite midi-based and generic to me, from the tracks I played. I'll have to give it another try
Yes, same here. I get that the director/producers wanted a certain orchestral sound for the film, but that they didn't have the budget for it, so Wallace had to make do with samples. Good samples in this day and age, sure, but still audibly samples. You won't be able to convince me that this is the way to go, no matter how well the music is written. If you have limited music budget, go for something completely different that is composed on synth's terms. Or go for something more acoustic, but a smaller chamber ensemble. Or something else; a rock approach, maybe. Or a mix of these.
Disagree, it can work. I love Dragonheart: Vengeance by Mark McKenzie. Randy Edelman made a whole career doing thematic/symphonic synth scores.
Um, this was recorded with the Budapest Scoring Orchestra, not samples.
I was going to say this is a fully orchestral score and sounds like it. Maybe folks are confusing it with something else? Listen to the trailer Joe posted.
