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Dude, you need to learn to listen. No, you can’t use a copy machine, no you can’y use a computer, you would have to copy them BY HAND using pen and paper if you wanted to copy them. Please pay attention, because every question in your last 2 posts have already been answered by Dawg Man in his previous posts.
Knight (GAH!)
BTW Dawg Man – What are you using to mock up the pieces? VSL and… GPO? Just Curious
I agree, bring on Carnage… but actually I don’t really care about this movie anymore after all that has happened… I’ll wait for the DVD
.Knight (Be a good Elfman fan and wait for the DVD… even though it won’t make much difference)
What are you people? 12?
Seriously though, that had me cracking up.
“Your nose and hair clash terribly! I HATE the cloths you’re wearing! The last time I saw your face I was in a zoo! Please come back!!!”
Now that is awesome, I have to try that on my ex-gf! I’m sure she will come running back!
Knight (Who is the one and only Knight in Shining Armour in here. Yeah, that is right Mr. Dantz, I’m talking to you! Got a problem? Let’s take it outside!
)Well, I would say make a FAQ sticky for this kind of crap but given that people like to post a new thread about the SAME topic that was posted the day before, I guess it wouldn’t do much good.
Knight (All I can say is read the Elfman to Professor letter, that **** is priceless!!!)
Actually, I was talking about compatability with 3rd party samplers such as how well Logic works with Gigastudio / Kontakt but I can’t really say because the only sequencers I have fiddled with are SONAR and Cubase. I WOULD use DP except it’s only available on Macs and…well…I just don’t like them
.Anyhow, I run 2 PCs using both Giga 3 and Kontakt 1.5 (2 steals all my RAM for some reason). In terms of Giga, I would say stick with what you have for now, as there was ALOT of problems with the Giga3 release/copy protection so many developers started switching to other samplers, and I can’t really think of any reason to get Gigastudio expect for Gigapulse, but you can get Waves IR1 and be set on that front.
Good choice on VSL, it’s got some of the most realistic sampling techniques currently available, and I have heard some awesome music being written with it. The reason I said that you should have 2 computers, however, is that sampling libraries (ESPECIALLY VSL) are total memory hogs. I would be shocked if you could load an entire VSL orchestra (just the basic patches) on 1GB of RAM. And as you expand you sample libraries to include ethnic and electronic stuff, you are REALLY going to need some more horsepower to run everything. It would just be a good idea.
Anyhow, best of luck with all this, and if you have any more questions feel free.
Knight (Mr. Know-it-all
)Be careful about that, you might want to read the “Alfred demanding me to remove “Victor’s Piano Solo”?!!” thread on this forum before you post it anywhere.
Knight
I really wonder where Kamen would have taken the series…but I guess we will never know (I still can’t believe he died)…
Anyhoo, I think Debney is a FANTASTIC composer, and would be really interested to see what he might do (if he does it). I for one really enjoyed Ottman’s score for X2, generic as it was
.As for Williams, he is a master, that is for sure, but he is not “THE” master IMHO. There are so many talented composer out there, I don’t really think we can crown a king of the castle (although I am sure most people here would automatically scream out Elfman).
For anyone who is into this film though, does anyone know what the hell happened with the Kitty Pryde character? In the first film, she was about 16, in the second, she was 12 and now we have yet ANOTHER age jump to about 22 in X3? Who was the genius behind that?
Knight (Sorry about the OT thing but I am really curious)
You can usually expect that most of the A-list composers use alot of things that most can’t get ahold of, such as private sample libraries and custom programs / synths. However, they also probably grab any commercial sample lib that they can get ahold of (I know James Newton Howard does this) just to see what they have. Elfman also BUILDS instruments himself so that is another thing. They can have a TON of computers and very extensive mixing/mastering equipment also, which can vary depending on thier own tastes (hence why you might not hear about which equipment they use).
I don’t know where you heard about the Logic thing but as far as I know most people use Digital Performer (on a Mac). If you are a PC user, Cubase or SONAR are both great sequencers, however I know that there have been some problems with Logic and high-end sampling software, but it might be unfounded.
If you want to start composing, I suggest first that you have a nice, powerful computer (build it yourself or buy it from a respected manufacurer) and a sequencer. Then go search the internet for Soundfonts, which is a dated form of sampling but you can find some good stuff to get you started and it’s free. You also might want to look for some cheap mixing/mastering software that you can use to polish your work, but if you get a sequencer like SONAR, it comes with a few decent audio effects so you can just stick with it.
If you want to be a professional however, it will cost a quite bit to setup a fairly good studio. I recommend having at least 2 good computers networked (depending on which sampling software you use, the method of networking will change). You should grab a couple of Studio Monitors (pro speakers basically), a good sequencer that can import alot of different forms of video (again, SONAR and Cubase are good choices for this), a MIDI controller, and sampling software. The 2 major players for this are Kontakt and Gigastudio, and both have some really awesome orchestral libraries available for it.
A couple of the major players in terms of sample libraries would be East West Quantum Leap Symphonic Orchestra and Vienna Symphonic Library. Now which one to choose is HIGHLY subjective, as both have thier strengths and weaknesses. It would be a good idea to check out both and see which one fits what you would like to write.
If you want to expand on the orchestra, I can recommend the following libraries:
East West Quantum Leap RA (Ethnic Intruments)
Spectronics Atmosphere (Electronic sounds)
Spectronics Symphony of Voices (Choirs – Elfman used the Boy’s Choir on Good Will Hunting)
East West Quantum Leap Stormdrum (LOTS of ethnic percussion)
G-Town Samples (Free stuff you can download, from Pipe Organs to Anvils)
And for the piano, there is just too many out there that are really great, so you’ll just have to pick.Anyway, I hope that this helps a bit and good luck with all this.
Knight (Wow, I really wrote WAYYY too much, anyone else want to add?)
“Apparently you have a link to a downloadable PDF file of an arrangement of
one of the compositions from this film; a composition by Danny Elfman
for which we hold the exclusive print rights.”It’s a touchy thing. I say remove it, because by copyright law there isn’t much ground to stand on. If they want it off, just take it off (and put it on a different website under an alias
). Then again, you could TRY to explain to them that this is created strictly as a non-profit educational arrangement that is not given out as printed material, but rather on a digital medium (but I wouldn’t expect much from this). And if all else fails, just make a MIDI and anyone who has Finale or something like it can just load it up and print it out.Good luck man,
KnightWould have been nice if they had just MENTIONED that only one man did all the voices as well (Elfman). Would have been a great tie in to the story, but NOOOO. Stupid news people.
Knight
GAH! I just HAD to move out of California 2 years ago… (*bangs head against a wall*). Oh well, MAYBE they will release a recording sometime here.
Knight
That is actually a fairly old lib. There is alot of new stuff that is incredible (EWQL just released a choir lib that sounds great, and you can give them lyrics to sing), but it’s a bit more costly. One thing to keep in mind, you can try to match Elfman’s recording sound, but trying to build a sample set like is would be impossible. Most composers on that level have thier own custom sample libs (hey, I would too if I could afford it) and Elfman has so much custom percussion it’s not even funny. In any case, have fun collecting
.Knight (I want to trade studios with James Newton Howard)
EWQLSO is a sample lib that has built in sampling software via Kompakt. It is NOT notation software. A sequencer is basically what you write on, and depending on how comfertable you are with different methods, there are alot of options. Cubase SX looks like it handles traditional notation fairly well. Cakewalk SONAR has the most usable piano roll (IMO), and there are plenty more. I think there is a few free sequencers as well. Finale and the like are probably the best for notation however they don’t seem to mesh easily with sample libs and if you plan to score film, you will have a rough time (if it is even possible) getting the video file imported and timed.
Also keep in mind that EWQLSO and other profressional sample libs are huge and power hungry, so you need a system that can run it. A good place to get more information is on a board for the software you are interested in. EWQL has a new forum through Sounds Online so that might be a good place to start.
Just get EWQLSO and a sequencer. Your not going to find any notation programs that have built in samples on the level of EWQL or VSL.
Knight
Dont get too upset about stuff like this bro, it is how things in this industry go sometimes. The director could have told him that he wanted a VERY elfmanish score, or the composer may have had no time to score the film, or that cue could have needed to be rushed at the last second, ect.
Knight (And you have 2 hours to write a 5 min cue that sounds along the lines of The Ice Dance….what would you do?)
I agree that Clausen should score the sucker. He is really a good composer and deserves to have the shot. However, in line with the TV series, I think Elfman should hit the Main Titles. There have been quite a few film where Elfman did the theme and someone else did the score so I think this would be the best route and make everyone happy.
Knight (Bah!)
Hmm, WAY too many to list so here is some of the CDs I currently have lying around:
Don Davis – The Matrix Revolutions
Thomas Newman – Meet Joe Black
Danny Elfman – Batman Returns
Klaus Doldinger and Giorgio Moroder – The NeverEnding Story (don’t laugh, it’s a good listen)
James Newton Howard – The Village
Michael Kamen – Robin Hood, Price of Thieves
John Williams – Star Wars Episode II – Attack of the ClonesAnd my current favorite cue: Batman Returns – Selina Transforms
Knight
Well, if you want realistic, what I said before is pretty much the industry standard nowdays (for film music). It takes time to learn (as with all things) but it’s not too difficult. Most synths just don’t cut it anymore, and if you plan on going pro your clients are going to want somthing alot more realistic. Head over to East West’s site (www.soundsonline.com) and check out the demos for Symphonic Orchestra Gold, then run over to Vienna Symphonic Library’s site (google it) and check out the demos for Opus 1. They are both about the same price and will give you a good idea on what you can do with these products. Happy hunting!
Knight
Also, keep in mind that there are quite a few sequencers (like Cubase, SONAR, ect.) so look into what seems to fit for you.
There is a couple of ways that you can go but it all depends on what you are writing. For orchestral music, you really have 2 options: Gigastudio / Vienna Symphonic Library or Kontakt / East West Quantum Leap Symphonic Orchestra. For either of these you will need a good sequencer like Cubase or SONAR. The Vienna is a bit more intimate than the East West, but is much harder to mix, whereas the East West version sounds great out of the box, and has that big “Hollywood” sound. If you start out with one of these then you should be fairly good to go for now, then when you want to expand you can get a sample library of almost instrument. Anyhow, if you need more info let me know. Happy hunting,
Knight
Yeah, but that will happen anyway, just the nature of the buisness nowdays
.James W.G. Smith (To retain your original music, never release it in any form)
5?!? Um…wow.
But seriously, good luck on this. Like I said, you don’t need luck but hey, well wishers are always a good booster. Start racking in those small credits and things will happen for you, just gotta work your way up
.Knight (Who will someday write something like “There are bugs in your butt” in a serious choral piece, just for fun
)Well, Horner has the gift, no doubt about that, but it’s how he uses it that bugs me. For one, he keeps on taking on score that he has no time for, and is reduced to ripping either himself or others off (now before people get all anal keep in mind that about 99% of composers have to do this, the time restraints sometimes leave you no choise). I guess the best example I can think of is Bicentennial Man and A Beautiful Mind.
Now the question is why would he do this when he now has the capability to pick and choose whatever he wants? The same goes for Elfman who keeps on grabbing at these Superhero movies (sorry but we all kow he can do better, for sure after the Spider-man 2 fiasco). Elfman did get alot of crap from other composers, but this was a LONG time ago people. If Horner did diss Elfman, I wouldn’t care, because it was probably like 10 years ago.
Now what pisses me off is when people fail to realise that scoring for film is a REALLY hard job. Sure, if you write something original, it will end up in a temp track and therefore probably get ripped off by someone who has about 10 days to write 50min of score. Just look at The Amittyville Horror (new one). Horner’s “Bishop’s Countdown” was ripped off twice in that film. Besides, younger composers are usually ASKED to imitate other composers all the time. It’s hard to get into this industry and even harder to get to a point where you can be really original.
Basically, it runs down like this. Sure, Horner has written some Elfmanish cues. And others have written some Hornerish cues, and other people rip off those other people. It’s a food chain that even Elfman is not immune to (although his use of that music is usually VERY original), and until directors, music supervisors and studio execs learn that original music can be just as effective or even moreso than thier damn temp tracks, we are a bit stuck with this. If you want this to change, become a director that respects your composer.
Knight (Ok, that is enough ranting for now)
