Menu
What's new
By:
Filters

Hans Zimmer's DUNE

Ok ok ok…enough of this, boys. Go back to the DAW/instrument of your choice and get cracking! Go back to your sheds! :-D
It’s ok to let out some steam sometimes, but we have pi.ai for that now, lol
 

Tanarri​

Maybe this thread is for you:

DUNE: old theme vs new theme.

Hi all. I've seen videos in French about a guy who thinks the music is poorer than what it was before. I could not confirm his observation in general, but I would agree with him on the case of DUNE. I admit having seen the original film very late, and having been disappointed because it...
vi-control.net vi-control.net
 
Tanarri said:
Second ad hominem in the row?..

Again, just tells something about you.
Click to expand...

You literally said “Widely unknown video game or sample library demo composers are vastly superior” to Ludwig Göransson, like come on… really? And you think I wouldn’t call that out?
 
KEM said:
You literally said “Widely unknown video game or sample library demo composers are vastly superior” to Ludwig Göransson, like come on… really? And you think I wouldn’t call that out?
Click to expand...
I'm not as enthusiastic about Ludwig Göransson as you are, but Tanarri's statement is definitely quite a stretch to say the least.

Maybe it needs to be backed up with audio examples and arguments.
 
Mr Greg G said:
I'm not as enthusiastic about Ludwig Göransson as you are, but Tanarri's statement is definitely quite a stretch to say the least.

Maybe it needs to be backed up with audio examples and arguments.
Click to expand...

That’s what I’m trying to get, because that’s just such an absurd statement and needs at least an attempt to be proven (but it can’t)
 
With all this chatter about LG and HZ it saddens me most have already forgotten about Johan Johansson. Sicario and Arrival really made a mark in the film scoring landscape in the 2010s. We were robbed of what could’ve been a magnificent career full of landmark scores. Gone way way too soon.
 
antoniopandrade said:
With all this chatter about LG and HZ it saddens me most have already forgotten about Johan Johansson. Sicario and Arrival really made a mark in the film scoring landscape in the 2010s. We were robbed of what could’ve been a magnificent career full of landmark scores. Gone way way too soon.
Click to expand...

Agreed, love his work, Prisoners is a hauntingly beautiful score, I’ll miss hearing new music from him
 
Tanarri said:
I have yet to hear this talented stuff of his.

Widely unknown video game or sample library demo composers are vastly superior to him.
Click to expand...
There are absolutely some incredible game composers and demo composers out there, but I don't think the existence of other great artists takes away from Ludwig's own greatness.

Film scores in general are heavily impacted by the medium they serve, and I will say that there are a lot of great composers who aren't necessarily great film composers because they are too caught up in the music, and not creating something that enhances the film it exists in. One of my favorite film scores this year was The Zone of Interest (music by Mica Levi) - only 14 minutes of music in the entire film, but when that music does appear it has immense impact. It is jarring, unsettling, uncomfortable, and evil, and perfectly disrupts the film and evokes a strong response. Musically on its own it is not doing anything crazy, but existing in the film, it does its job so perfectly. I couldn't imagine a better use of music for that film.

I think Ludwigs music perfectly serves the films they are a part of. A lot of thought is put into representing the characters and drama of the film, and creating a unique soundscape for the film. The thought process behind the composition of "Can You Hear The Music" was a super cool and creative way to represent the subject matter of Oppenheimer.
 
  • Love
Reactions: KEM
SyMTiK said:
There are absolutely some incredible game composers and demo composers out there, but I don't think the existence of other great artists takes away from Ludwig's own greatness.

Film scores in general are heavily impacted by the medium they serve, and I will say that there are a lot of great composers who aren't necessarily great film composers because they are too caught up in the music, and not creating something that enhances the film it exists in. One of my favorite film scores this year was The Zone of Interest (music by Mica Levi) - only 14 minutes of music in the entire film, but when that music does appear it has immense impact. It is jarring, unsettling, uncomfortable, and evil, and perfectly disrupts the film and evokes a strong response. Musically on its own it is not doing anything crazy, but existing in the film, it does its job so perfectly. I couldn't imagine a better use of music for that film.

I think Ludwigs music perfectly serves the films they are a part of. A lot of thought is put into representing the characters and drama of the film, and creating a unique soundscape for the film. The thought process behind the composition of "Can You Hear The Music" was a super cool and creative way to represent the subject matter of Oppenheimer.
Click to expand...

Very well said, and completely accurate as well
 
KEM said:
That’s what I’m trying to get, because that’s just such an absurd statement and needs at least an attempt to be proven (but it can’t)
Click to expand...
Well, all it takes is to ask for examples, instead of going straight into "the dumbest, most unintelligent thing I’ve ever read in my entire life". :grin:

Hollywood Strings piece:


Adventure Strings piece:


Jerner said:
Tonight on Celebrity Deathmatch!
Ludwig Göransson versus widely unknown library composer!

may the best presets win
Click to expand...
Well, show me at least one piece from Göransson as well-composed as Verta's stuff. I'll wait.

Göransson's Star Wars music was, with no exaggerating, the biggest musical downgrade I've ever heard. From the utmost superb Williams to Göransson's godawful drum and synth loops in Mandalorian. It's the musical equivalent of Rembrant versus a dogsh*t smeared across a wall. There's no other way to describe that. From the incredibly insane harmonies, progressions and iconic melodies to the dullest, stupidest loops.
(Even the downgrade from Goldsmith to Tyler in Rambo is not that bad. Eh, it's actually crazy how one could make a franchise list of musical downgrades. Star Wars, Star Trek, Rambo, Potter, Jurrasic stuff, Planet of the Apes, Predator, Alien, all fricking huge downgrades from the older soundtracks.)
To this day I can't believe any producer was okay with that... But then again, look where Disney's Star Wars are at this point... seems like not even billions of dollars can buy you competence.

Göransson couldn't put together even 30 seconds of Verta's Tears of a Jedi, a.k.a. an actual musical composition.
Every time I listen to Göransson I hear either the typical newbie midi copy+paste composing, or the typical newbie semi-random composing. Not actual well-structured compositions. Let alone some ear-catching harmonies or whatnot.

SyMTiK said:
There are absolutely some incredible game composers and demo composers out there, but I don't think the existence of other great artists takes away from Ludwig's own greatness.

Film scores in general are heavily impacted by the medium they serve, and I will say that there are a lot of great composers who aren't necessarily great film composers because they are too caught up in the music, and not creating something that enhances the film it exists in. One of my favorite film scores this year was The Zone of Interest (music by Mica Levi) - only 14 minutes of music in the entire film, but when that music does appear it has immense impact. It is jarring, unsettling, uncomfortable, and evil, and perfectly disrupts the film and evokes a strong response. Musically on its own it is not doing anything crazy, but existing in the film, it does its job so perfectly. I couldn't imagine a better use of music for that film.

I think Ludwigs music perfectly serves the films they are a part of. A lot of thought is put into representing the characters and drama of the film, and creating a unique soundscape for the film. The thought process behind the composition of "Can You Hear The Music" was a super cool and creative way to represent the subject matter of Oppenheimer.
Click to expand...
He's maybe a great producer, and maybe even an innovative one. He's not a great composer though.
 
You must log in or register to reply here.
Top Bottom