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Παρακατω ενα review του soundtrack της ταινιας Blade Runner που ανεβηκε πριν δυο μερες στο www.musictech.net, ενα site που ανηκει στο MusicTech magazine. Το συγκεκριμενο review ειναι το 9ο της σειρας "Landmark Productions". Καποια απο τα παλιοτερα θεματα της σειρας: "Brian Eno – Another Green World", "Joy Division – Unknown Pleasures", "David Bowie – Low" κ.α.
Το review εγινε με την βοηθεια του www.NemoStudios.co.uk πανω σε τεχνικα θεματα της ηχογραφησης, του synth setup κλπ. Οι φωτογραφιες του Nemo Studio (οι οποιες δεν υπηρχαν στο review) επεξεργαστηκαν και προστεθηκαν απο μενα, οπως και τα βιντεο. Αυτο το review ειναι και μια καλη ευκαιρια για ενα φωτογραφικο αφιερωμα στο θρυλικο Nemo Studio, με φωτογραφιες που πολλοι δεν εχουν ξαναδει.
Ridley Scott’s undisputed work of cinematic genius "Blade Runner" had an equally impressive soundtrack, created by Greek synth-supremo Vangelis. Andy Price looks back (or rather forwards) at this beautiful score…
Engineer: Raine Shine
Producer: Vangelis
Tracks
01 Blade Runner (Main Titles)
02 Blush Response
03 Wait For Me
04 Rachel’s Song
05 Love Theme
06 One More Kiss, Dear
07 Blade Runner Blues
08 Memories Of Green
09 Tales Of the Future
10 Damask Rose
11 Blade Runner (End Titles)
12: Tears In Rain
Several further tracks were included on the "Blade Runner Trilogy, 25th Anniversary" 3-CD version of the soundtrack.
Often regarded as one of the greatest science-fiction movies (and, indeed, one of the greatest movies) of all time, Ridley Scott’s "Blade Runner" broke new ground on its release back in 1982. Initially a slow-burner, the film grew in popularity over the next decade with the advent of home video.
Its dystopian vision of a dark, smoky, neon-lit Los Angeles of 2019 was at the time a radical departure from the usual Metropolis-like take on how a city of the future should look. But the hugely impressive visual effects (all the more impressive when you consider this was still the pre-CG early 80s) painted only half the picture.
The film’s sumptuous, synth-tacular soundtrack was painstakingly and passionately created, performed and produced almost single-handedly by mighty Greek keyboard-lord Vangelis.
The use of the synthesizer in film soundtracks by the early 80s was nothing particularly new, especially in the science fiction genre (Stanley Kubrick’s "A Clockwork Orange" featured composer Wendy Carlos re-arranging classical pieces).
However an all-synth soundtrack was still a new idea, sneered upon by many ‘serious’ composers who believed that the synthesizer could never truly capture the same level of emotion and humanity that traditional orchestral scores were capable of.
However, one man was so to prove them quite wrong. Vangelis’ acclaimed "Chariots Of Fire" score was a magnificent, uplifting piece of work that featured massive, engagingly anthemic melodies, all of which were produced electronically. Winning an Oscar for his work was the final say on the debate as to whether a truly great score could be generated without an orchestra.
Ridley Scott approached Vangelis shortly after this success and asked him to score his new Phillip K. Dick-inspired science fiction movie after previously working together briefly on a perfume commercial.
At the point when Vangelis was introduced to the project a temp score was in place over a rough cut of the film; this gave Vangelis an idea of what Scott was looking for musically. Vangelis enthusiastically agreed.
Work began on the soundtrack at Vangelis’ private recording studio, Nemo Studios, in Marylebone, London. He sought the aid of just one studio engineer, Raine Shine, who would operate tape machines and help with the general mixing and video playback.
Dolby Stereo engineers had installed noise-reduction units that helped in transferring the 4-track mixes to the 1/4" tape required and also confirmed that the instruments and equipment Vangelis used would be compatible.
Typically, Vangelis would receive VHS tapes of a daily scene straight from the editing room, with just the dialogue audio and no extraneous sound effects or temp scoring. He positioned screens around the studio so that whichever synth he was working with, he could see the onscreen events and sync his music accordingly.
Vangelis utilised the Yamaha CS80 to generate the incredible opening credits, applying the CS80’s pitchbend using its ribbon controller. The CS80 also gave control over each note’s power and depth via the polyphonic aftertouch feature. This synth was used throughout the Blade Runner score and became known as something of a signature instrument.
Also were used the Roland VP330 VocoderPlus and, on occasion, a Fender Rhodes, through which Vangelis crafted the more traditional-sounding pieces. The many low drones, hums and resonant builds were generated by a Sequential Circuits Prophet 10; rhythmic sounds were crafted on a Yamaha GS1.
Vangelis evoked 2019 LA with a sense of great distance and space by running all his instruments through a Lexicon 224 digital reverb; for the compositions and cues that relied on pulsation he set up several Roland synthesizers and sequencers, which allowed him to run the tracks through each one and edit, transpose and adjust filters as he played.
Among his Roland line-up were the ProMars CompuPhonic and Jupiter 4; sequencers included the CSQ-600 and System 104. The studio setup was quite straightforward. With one control room and one live room, the main control room also served as the primary composing room – Vangelis thought of the mixing desk and outboard equipment as a further extension of his musical instruments and he incorporated their use while coming up with ideas.
Vangelis used two 750-Watt Tannoy Dreadnought monitors. When he was creating the various themes for the film Vangelis would naturally compose, improvise and record his pieces as the scenes were being played before him, letting the visuals and tone of the scene direct his musical progressions without prior rehearsal.
He also took the rather unorthodox approach of creating not just music, but sprinkling additional electronic ambience onto Ridley Scott’s visuals. For example, during the opening establishing scenes of the dystopian cityscape he added elevating sounds as one of the flying ‘Spinner’ cars approaches the screen.
This natural, unrehearsed reactionary creative interpretation of what the composer was seeing was unprecedented, but certainly worked to great effect in a film that thematically deals with the conflict between humanity and electronically duplicated entities.
The best example of this is during the initial scene between Rachael Tyrell (Sean Young) and Rick Deckard (Harrison Ford), where Vangelis alters the moods, texture and attack of each subtle melody he plays depending on each character’s emotions, fears and status within the scene; this musical journey ultimately resolves into the film’s main Love Theme, which incorporates some additional saxophone performed by Dick Morrissey.
Το review εγινε με την βοηθεια του www.NemoStudios.co.uk πανω σε τεχνικα θεματα της ηχογραφησης, του synth setup κλπ. Οι φωτογραφιες του Nemo Studio (οι οποιες δεν υπηρχαν στο review) επεξεργαστηκαν και προστεθηκαν απο μενα, οπως και τα βιντεο. Αυτο το review ειναι και μια καλη ευκαιρια για ενα φωτογραφικο αφιερωμα στο θρυλικο Nemo Studio, με φωτογραφιες που πολλοι δεν εχουν ξαναδει.
Landmark Productions:
Vangelis – Blade Runner soundtrack
Vangelis – Blade Runner soundtrack
Ridley Scott’s undisputed work of cinematic genius "Blade Runner" had an equally impressive soundtrack, created by Greek synth-supremo Vangelis. Andy Price looks back (or rather forwards) at this beautiful score…
Engineer: Raine Shine
Producer: Vangelis
Tracks
01 Blade Runner (Main Titles)
02 Blush Response
03 Wait For Me
04 Rachel’s Song
05 Love Theme
06 One More Kiss, Dear
07 Blade Runner Blues
08 Memories Of Green
09 Tales Of the Future
10 Damask Rose
11 Blade Runner (End Titles)
12: Tears In Rain
Several further tracks were included on the "Blade Runner Trilogy, 25th Anniversary" 3-CD version of the soundtrack.
Often regarded as one of the greatest science-fiction movies (and, indeed, one of the greatest movies) of all time, Ridley Scott’s "Blade Runner" broke new ground on its release back in 1982. Initially a slow-burner, the film grew in popularity over the next decade with the advent of home video.
Its dystopian vision of a dark, smoky, neon-lit Los Angeles of 2019 was at the time a radical departure from the usual Metropolis-like take on how a city of the future should look. But the hugely impressive visual effects (all the more impressive when you consider this was still the pre-CG early 80s) painted only half the picture.
The film’s sumptuous, synth-tacular soundtrack was painstakingly and passionately created, performed and produced almost single-handedly by mighty Greek keyboard-lord Vangelis.
The use of the synthesizer in film soundtracks by the early 80s was nothing particularly new, especially in the science fiction genre (Stanley Kubrick’s "A Clockwork Orange" featured composer Wendy Carlos re-arranging classical pieces).
However an all-synth soundtrack was still a new idea, sneered upon by many ‘serious’ composers who believed that the synthesizer could never truly capture the same level of emotion and humanity that traditional orchestral scores were capable of.
However, one man was so to prove them quite wrong. Vangelis’ acclaimed "Chariots Of Fire" score was a magnificent, uplifting piece of work that featured massive, engagingly anthemic melodies, all of which were produced electronically. Winning an Oscar for his work was the final say on the debate as to whether a truly great score could be generated without an orchestra.
Ridley Scott approached Vangelis shortly after this success and asked him to score his new Phillip K. Dick-inspired science fiction movie after previously working together briefly on a perfume commercial.
At the point when Vangelis was introduced to the project a temp score was in place over a rough cut of the film; this gave Vangelis an idea of what Scott was looking for musically. Vangelis enthusiastically agreed.
Working Methods
Work began on the soundtrack at Vangelis’ private recording studio, Nemo Studios, in Marylebone, London. He sought the aid of just one studio engineer, Raine Shine, who would operate tape machines and help with the general mixing and video playback.
Dolby Stereo engineers had installed noise-reduction units that helped in transferring the 4-track mixes to the 1/4" tape required and also confirmed that the instruments and equipment Vangelis used would be compatible.
Typically, Vangelis would receive VHS tapes of a daily scene straight from the editing room, with just the dialogue audio and no extraneous sound effects or temp scoring. He positioned screens around the studio so that whichever synth he was working with, he could see the onscreen events and sync his music accordingly.
Vangelis utilised the Yamaha CS80 to generate the incredible opening credits, applying the CS80’s pitchbend using its ribbon controller. The CS80 also gave control over each note’s power and depth via the polyphonic aftertouch feature. This synth was used throughout the Blade Runner score and became known as something of a signature instrument.
Also were used the Roland VP330 VocoderPlus and, on occasion, a Fender Rhodes, through which Vangelis crafted the more traditional-sounding pieces. The many low drones, hums and resonant builds were generated by a Sequential Circuits Prophet 10; rhythmic sounds were crafted on a Yamaha GS1.
Vangelis evoked 2019 LA with a sense of great distance and space by running all his instruments through a Lexicon 224 digital reverb; for the compositions and cues that relied on pulsation he set up several Roland synthesizers and sequencers, which allowed him to run the tracks through each one and edit, transpose and adjust filters as he played.
Among his Roland line-up were the ProMars CompuPhonic and Jupiter 4; sequencers included the CSQ-600 and System 104. The studio setup was quite straightforward. With one control room and one live room, the main control room also served as the primary composing room – Vangelis thought of the mixing desk and outboard equipment as a further extension of his musical instruments and he incorporated their use while coming up with ideas.
Vangelis used two 750-Watt Tannoy Dreadnought monitors. When he was creating the various themes for the film Vangelis would naturally compose, improvise and record his pieces as the scenes were being played before him, letting the visuals and tone of the scene direct his musical progressions without prior rehearsal.
He also took the rather unorthodox approach of creating not just music, but sprinkling additional electronic ambience onto Ridley Scott’s visuals. For example, during the opening establishing scenes of the dystopian cityscape he added elevating sounds as one of the flying ‘Spinner’ cars approaches the screen.
This natural, unrehearsed reactionary creative interpretation of what the composer was seeing was unprecedented, but certainly worked to great effect in a film that thematically deals with the conflict between humanity and electronically duplicated entities.
The best example of this is during the initial scene between Rachael Tyrell (Sean Young) and Rick Deckard (Harrison Ford), where Vangelis alters the moods, texture and attack of each subtle melody he plays depending on each character’s emotions, fears and status within the scene; this musical journey ultimately resolves into the film’s main Love Theme, which incorporates some additional saxophone performed by Dick Morrissey.
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