![]() ![]() Don't get me wrong - if the music is good, I'll sit through the most horrific synth imagineable and I'll still enjoy the piece on a musical level. I am all too aware of this, as you will probably have guessed by now in my numerous long, rambling posts on this very topic in your orchestral thread and in other places. I mentioned the synthy nature of it because a) it was at odds with the article you posted, which suggested that the budget was sufficient to provide a fully orchestral score.Ī synth can play magnificient music (like this very good ORCHESTRAL piece, composed by Sean Beeson, Race to Jupiter, posted by Billie) I think the tone of my comment was clearly directed at poor quality *music* as distinct from poor quality performance. I know that this doesn't bother you as such - I bought it up for other reasons (see below) and I think that my comments on the synthesiser were quite apart from my comments on the music which I believe to be poor, regardless of whether the performer is the LSO or some guy and a keyboard. He's among my favorite game music composers.Ĭoncerning the comments about the partly synthetic nature of the score, I won't follow this debate because I already said that it's not so important to me as I tend to stick to the composition and orchestration of the music. First, he is a true symphonist, with a good classical and orchestral background, then he's renowned for having composed many beautiful and gracious orchestral cues for the games Heroes of Might and Magic. A synth can play magnificient music (like this very good ORCHESTRAL piece, composed by Sean Beeson, Race to Jupiter ( ), posted by Billie) and the greatest orchestra can play pure crap: Frank Zappa and the London Symphony Orchestra.Įdit: the guy I suppose you called "crap composer" is Paul Romero ( ). Sincerely, if you judge the aforementioned tracks as crap, I suppose we have a difference in taste which is superior to what I thought.Ĭoncerning the comments about the partly synthetic nature of the score, I won't follow this debate because I already said that it's not so important to me as I tend to stick to the composition and orchestration of the music. These tracks are tastefully composed and orchestrated, and accurately evocate the images of a fascinating, mysterious, fairy-like fantasy world:Ģ5 - Plains (ambient).mp3 <- this one is EXCEPTIONAL, my favorite. ![]() Such a difference in the quality between tracks can be easily explained by the high (and excessive) number of composers hired.įor instance, here are some tracks I find extremely beautiful. (Disclaimer: No personal attacks in the following, only rational debate)Īlthough I'll admit that not all tracks are exceptional (some are rather bland and generic indeed), a good number of them are quite appealing and very inspired. I'm more than surprised by your opinion, my friend. Gentlemen, if you're listening - I can put you in touch with some composers who will write you the most magnificent score you could ask for, orchestrate it themselves, and deliver you fully written out scores ready to be sent to the orchestra - all for absolutely free.) Interesting for two reasons - firstly because they imply that by chosing the crap composer they did that the score would be predominantly orchestral (which it clearly isn't - a huge portion of it is synthesised) and also because I know at least twenty composers who are ten times more talented than these morons, and who would have scored this thing for free (donating 100% of their fee to the musician's budget) just for the experience. [Edit: Fascinating article though - particularly where the makers discuss the possibility of engaging a composer of lesser-standing and diverting the saving towards the orchestral sessions. Sorry - as I say, I do appreciate your upload and effort, but as a musical experience, this is more underwhelming than Clone Wars. Are we listening to the same score here, my friend? One or two themes are serviceable, but by and large we have a completely generic sounding, synthy, percussive, nonsense score where the only moments of respite are in the (otherwise pointless) fifteen minutes of silence thoughtfully (but nonsensically) interspersed throughout the album. It sounds ridiculously cheap - probably due to the insufficient budget, appallingly under-rehearsed orchestra, and the inevitable synthesiser "sweetening" (which achieves nothing but make the orchestral portions sound cheesy) - but that's a minor complaint in comparison to the music itself. And, I'm sorry to say, this was a crushing disappointment - (I really do appreciate your post, I just don't like the music.) Wow, after arthierr's glowing review, I thought I was going to be in for something quite special.
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