[Fmpro] HMS Les ( a humerous diversion )

Mon May 14 19:32:04 GMT 2007

It started in the 50s when the anti-trust laws made the studios break up
from being all-inclusive (IE paramount had under their umbrella all the
studios, actors, directors, composers, orchestrators, copyists, all
production crew and equipment in house, and their final product of their
films were distributed and shown in Paramount theaters, likewise with MGM
and WB et al) so its come a long way keep in mind and we have to be creative
to a. keep working and b. keep the traditions of what makes good music and
emotional interpretation while still trying new things

-----Original Message-----
From: fmpro-bounces+chris=alpiar.com at nxport.com
[mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of James Ryan
Sent: Monday, May 14, 2007 3:01 PM
To: fmpro at nxport.com
Subject: Re: [Fmpro] HMS Les ( a humerous diversion )

I agree with the camaraderie part.  I've had the great fortune to inhabit
both worlds over the years.  Though much less than in the past, I do
occasionally get to work with live musicians and/or singers and there is no
question that the group effort is a lot more fun and generally takes a lot
less time.  And who among us would not want to hang out in the Pub with Les
Hurdle during the breaks?  I would however add that if your friendly (or
not) producer doesn't happen to like what you've created, fixing it in a
computer is a lot easier and faster than dictating to sixty five musicians
while panicking clients breathe down your neck, pacing back and forth
wearing out the rug in the control room.  It really is two different worlds
with hopefully similar results.

In one particular job I worked on, the producer wanted a full mixed mockup
of an orchestral project with 47 cues, which I did, and then recorded with
live musicians.  The producer, on completion of the project, and after a few
days of living with the music asked "how come the mockup sounds better?"
That was the last live date I did and it was 2003.  We ended up mixing the
live stuff with the sampled stuff to reach a happy medium, but it was a kind
of a sad day for me.

Bottom line - it is what it is in spite of what we'd like it to be.  There
are a number of talented composers in the front lines that have gotten so
good at the midi "scoring stage" that they have put more than a few nails in
the hiring of live musicians coffin.  My clients these days expect demos to
sound like the London Symphony, and if I don't deliver that (obviously in
the midi realm), I don't get the job!  So I spend a fortune on samples and
software and do my best.

Whadayagonnado?

:) James 

On 5/14/07 2:30 PM, "Phil Kelly" <lonearrngr at comcast.net> wrote:

> 
>> 
>> Message: 7
>> Date: Mon, 14 May 2007 11:08:27 -0400
>> From: "Chris Alpiar" <chris at alpiar.com>
>> Subject: Re: [Fmpro] non PRO tech question for composers
>> To: <fmpro at nxport.com>
>> Message-ID: <007401c79639$ba1ec730$6801a8c0 at workhorse>
>> Content-Type: text/plain; charset="us-ascii"
>> 
>> I think he means he wouldn't touch a computer, for the English empire
>> provides a slave orchestra to work with 24/7 made up of aborigine and
>> pigmy
>> musicians
>> 
>> Talley ho!
>> 
>> Hahah sorry Les I just cant help painting you Sir Les Hurdle, the Major
>> General of Penzance ;)
> 
> 
> Chris:
> 
> Being one of the same generation as Sir Les, ( and who was also brought
> up on years of trogloditic recording sessions using actual HUMANS ) We
> sometimes wonder aboot you younger folks who willingly and tediously
> employ phalanxes of  of legato, marcato, staccato, detache, tremolo
> ,etc string samples to accomplish what one HUMAN string section (
> slave, pygmy, or otherwise ) can accomplish by itself in a much shorter
> time period that is required to program all that stuff.
> 
> Besides, by sitting in your Dr Funkensteins electronic cavern to create
> your music, you've been shortchanged of the camaraderie of the live
> session, where on break, the brass and wind guys would generally head
> for the nearby pub ..and the string players would generally sit in
> their chairs ,frugally eating their brown bag sandwiches !   :)
> 
> Whilst being amazed at some of the elaborate electronic creations you
> youngsters manage to come up with, I can't help feeling sorry for all
> the human interactions , humourous ripostes, and other joys of actual
> live recording you've missed in the process.
> 
> Oh yeah ..the "old way" got the music out the door a hellava lot FASTER
> ..and in most cases, with a much more human feel ( slave and/or pygmy
> considerations aside )  :)
> 
> Finally, I'm with Sir Les: ..I wouldn't touch a PC either!!
> 
> BTW:  Since Don Imus got the axe, I'd be careful about that "Talley ho"
> stuff ..to keep the PC police from visiting
> your studio!    :)
> 
> 
> Phil Kelly ( aka Mr Smee )
> www.philkellymusic.com
> NW Prevailing Winds
> SW Santa Ana Winds
> Origin Records
> 
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