Background Music by William Anderson THREAD

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Background Music by William Anderson THREAD

Post by Boom (?) » Sun Jan 15, 2012 12:05 pm

Background music is the music without vocal tracks, and in Friendship is Magic it is all composed by one William Kevin Anderson. It's pretty much constant and tailored to every single scene, so necessarily it's one of the last stages of production. It's also really important stuff. The success or failure of a scene to make a connection with it's audience hinges on an appropriate well-crafted score. Still, casual viewers will almost always be unaware of its impact or even existence.

I am not a music guy, I'm way out of my depth, so I won't go on, but I was looking through some of these tracks on the youtube and wanted to talk about them and noticed we didn't have an actual thread for it.

These two are my favorites at the moment:

http://www.youtube.com/watch?v=jn_ND9sYe5k&feature=related: Literally the first scene of the first episode.


http://www.youtube.com/watch?v=0_HWaTaUVns: Twilight's announcement in Applebuck Season. The music is so important!
I've never seen a baby dragon before.
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Post by Throbulator (?) » Sun Jan 15, 2012 1:54 pm

Two background music clips I've noted.

http://www.youtube.com/watch?v=toull2B_ ... age#t=255s
In the first part of Return of Harmony, Twilight has Rainbow Dash and Applejack work together to capture the loose cotton candy clouds. When at first Rainbow Dash leaps into action we're treated to some sick electric guitar jamming, but as Applejack joins the electric guitar moves to the background and is overlaid by a rather mad banjo clawhammer.


http://www.youtube.com/watch?v=W-r4psXU ... age#t=261s
In Secret of My Excess, I really like the music that plays when Spike receives his birthday presents. It's a nice upbeat tune.


Edit: Hell, I completely forgot about the music played when Celestia talks about Discord's return. It's so full of purpose.
http://www.youtube.com/watch?v=toull2B_ ... age#t=391s
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Post by Bag of Magic Food (?) » Sun Jan 15, 2012 3:05 pm

All those silly remixes of the Gummy's after-birthday-party scene got the music drilled into my head enough that I recognized the riff at the beginning a couple of times in "Griffon the Brush-Off"... and Twinkle Wish Adventure. :starity:

Boom wrote:Literally the first scene of the first episode.

I always liked the music in the very second scene of the very first episode, that's like "Whoa, we're so modern now!"
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Post by VaultAggie (?) » Sun Jan 15, 2012 4:25 pm

The background music to the Pegasi in Hearths warming eve is probably my favorite background piece.
http://www.youtube.com/watch?v=uRmc0TLEwCk

The music from lesson zero is also really unsettling and make Twilight's breakdown all the more effective.
http://www.youtube.com/watch?v=qxEeDb5ZTSU

The music that plays when the green dragon confronts Spike is also really good. I always get some Fallout vibes from it.
http://www.youtube.com/watch?v=5hu1DgIsQKU#t=16m39s

Another one from Hearths Warming eve, when Rainbow and Fluttershy first discover Equestria.
http://www.youtube.com/watch?v=uHmAV9w_Kjw#t=12m25s

I just love the music in this show, both songs and background music. :awesomedash:
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Post by Doctor Wheeze (?) » Sun Jan 15, 2012 4:49 pm

Boom wrote:http://www.youtube.com/watch?v=jn_ND9sYe5k&feature=related: Literally the first scene of the first episode.

I've always loved this piece. A freaking epic rendition of the My Little Pony theme song :awesomedash:


My vote for favorite background music goes to Twilight's birthday party in Sweet and Elite.


It's just so much fun!
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Post by kidcoelacanth (?) » Sun Jan 15, 2012 4:53 pm

The only correct answer is the CMC montage from Show Stoppers.

http://www.youtube.com/watch?v=eXNl2CXXWIA

Probably my single favorite piece of music from the show.
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Post by DarkMatter (?) » Sun Jan 15, 2012 5:51 pm

I've always liked the celebration music at the end of episode two, especially when Celestia tells Twilight to stay in Ponyville.


This is kind of fan made but only because the original theme had to be extended (it was only in the episode for about ten seconds). It's the music that plays during Fluttershy's fashion show in Green Isn't Your Color before Twilight makes her trip. It's probably my favorite background music piece in the show, though I'm not sure why.


Pinkie's psychotic breakdown from Party Of One is actually quite creepy. The music has a real Danny Elfman flavor to it.
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Post by Headless Horse (?) » Sun Jan 15, 2012 8:20 pm

This is going to be the best damn thread. :awesomedash:
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Post by numsOic (?) » Sun Jan 15, 2012 8:56 pm

William Anderson owns and I approve of this thread.

PS: How is this not posted yet. (Rarity's private fashion show to Toity at the end of Suited for Success.)
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Post by Poor Yorick (?) » Sun Jan 15, 2012 9:35 pm

Hard rock in My Little Pony cartoon (and no, I'm not talking about Tom):

Ladies and gents, I present you - Gilda's leitmotiff

http://www.youtube.com/watch?v=96PtbyM4 ... re=related

http://www.youtube.com/watch?v=t_pykAsj ... re=related
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Post by numsOic (?) » Sun Jan 15, 2012 9:55 pm

^ Holy shit, those are in the original????
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Post by Adelor Lyon (?) » Mon Jan 16, 2012 4:05 pm

My favorite is Rainbow Dash's Sonic Rainboom:
http://www.youtube.com/watch?v=ciPVor5f0OU

Honorable Mentions:

Pinkie's psychotic break:
http://www.youtube.com/watch?v=_cy9gNE_vIE
Pinkie Ice Skating:
http://www.youtube.com/watch?v=1VV2qHzGKfU
Summer Sun Celebration & Twilight's Exam
http://www.youtube.com/watch?v=Pu_8UHGG_ps

I can't find it right now, but the music during the Iron Pony competition is fantastic, too, especially when the pair are carrying the chicks on their backs. :yay:
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Post by Artificer (?) » Mon Jan 16, 2012 4:16 pm

Poor Yorick wrote:Hard rock in My Little Pony cartoon (and no, I'm not talking about Tom):

Ladies and gents, I present you - Gilda's leitmotiff

http://www.youtube.com/watch?v=96PtbyM4 ... re=related

http://www.youtube.com/watch?v=t_pykAsj ... re=related


Good lord. :awesomedash:
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Post by The great M (?) » Mon Jan 16, 2012 6:34 pm

Can anyone find the background music that plays in Sisterhooves Social when AJ and AB pick up the rotten apples together?

Because that is the best music.
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Post by Glazius (?) » Mon Jan 16, 2012 6:45 pm

Did Ingram do the instrumental Winter Wrap-Up reprise? Or was that Anderson? It's pretty nice, either way.
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Post by Octavia (?) » Mon Jan 16, 2012 7:02 pm

Glazius wrote:Did Ingram do the instrumental Winter Wrap-Up reprise? Or was that Anderson? It's pretty nice, either way.


I'm betting it was Ingram. It sounds just like the original track, but with the vocals removed.

I write underscore for a living, so I can do my best to answer any questions anyone has about the process. Obviously it's different from show to show and composer to composer, but I've been doing this for five years now, and should be able to answer just about anything on the subject of background music.
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Post by Mechanical Ape (?) » Mon Jan 16, 2012 7:06 pm

Not really a composition thing, but I love in "Party of One" when Twilight goes to pick up the cake, she shushes Mrs. Cake and you can hear the BGM wind down.
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Post by BartonFink (?) » Mon Jan 16, 2012 7:21 pm

The climax of "Family Appreciation Day" is really helped out by the BGM, it's somewhat old timey while also having a slight 'epic' feel to it.

http://www.youtube.com/watch?v=gu5jqJ5IKNA


The last 30 seconds in particular are awesome.

edit: you don't even really need the narration for this whole sequence to work :yay:
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Post by Headless Horse (?) » Mon Jan 16, 2012 7:23 pm

Octavia wrote:
I'm betting it was Ingram. It sounds just like the original track, but with the vocals removed.


Actually Ingram talked about this directly during his appearance at BroNYCon. According to him, the reprise of WWU was Anderson, taking the non-vocal tracks and using them directly as part of the score. It's something he hardly ever does, but the fact that Ingram's songs get written and recorded right at the beginning of the production process and Anderson's scoring happens at the very end (8-9 months later) means the two of them have a lot of time in between to cross paths socially/professionally and coordinate things like that when it makes sense.

(It also explains why you can hear a teensy bit of the vocal track creeping in on top of the instrumental reprise.)
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Post by Poor Yorick (?) » Mon Jan 16, 2012 7:48 pm

Have some Sisterhooves Social up in this -

Rarity's parents :gonkity:
http://www.youtube.com/watch?v=bCIfw8QX7Vw

The race :vogue: :ohboy:
http://www.youtube.com/watch?v=PcQnVfEMatw
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Post by Brunellus (?) » Mon Jan 16, 2012 7:58 pm

http://www.youtube.com/watch?v=dKCbeaxVii8
I've mentioned before that the music from this (specifically 0:37 to 1:00) and the earlier part where Twilight is reading the letters, remind me of some of the music in The Usual Suspects
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Post by HuffyTheMagicDragon (?) » Mon Jan 16, 2012 10:31 pm

Boom wrote:http://www.youtube.com/watch?v=0_HWaTaUVns: Twilight's announcement in Applebuck Season. The music is so important!

This was the first time I really noticed the background music in the show, and I've always been careful to pay attention to it since then. Character themes, mood music, references to classical scores... William Anderson does a great job. :pinkietoot:

And how about that Star Wars A New Hope ending theme from Return of Harmony?
http://www.youtube.com/watch?v=OHIZ7No5iOM
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Post by Jupiter (?) » Tue Jan 17, 2012 3:04 am

Zee background musik hass arived!


PS: How is this not posted yet. (Rarity's private fashion show to Toity at the end of Suited for Success.)


I listen to this all the time, it's too good!
Also the RD chase & restoration in Return of Harmony is some good stuff too:

Goosebumps
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Post by DarkMatter (?) » Tue Jan 17, 2012 3:33 am

Geez, Granny Smith's flashback story. It's just... so great. :awesomedash:
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Post by Lazy (?) » Tue Jan 17, 2012 4:35 am

Poor Yorick wrote:Hard rock in My Little Pony cartoon (and no, I'm not talking about Tom):

Ladies and gents, I present you - Gilda's leitmotiff

http://www.youtube.com/watch?v=96PtbyM4 ... re=related

http://www.youtube.com/watch?v=t_pykAsj ... re=related

Man, Gilda's BGM is so much better than anything else she does...
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Post by Headless Horse (?) » Tue Jan 17, 2012 5:12 am

Jupiter wrote:Also the RD chase & restoration in Return of Harmony is some good stuff too:

Goosebumps


God damn yeah. What a gorgeous piece of music. And it's also full of little nods and allusions: the little trumpet trills during the chase sequence are echoes of the "running through the maze" bits from the first episode. And the high-pitched flute quoting the MLP theme while Fluttershy is poking Rainbow Dash is a hysterical little musical joke.
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Post by Aurora (?) » Tue Jan 17, 2012 5:35 am

Argh, I can't find the background music for whenever the bullies are on screen during Sonic Rainboom. It's a really good piece.
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Post by fenster (?) » Tue Jan 17, 2012 5:50 am

Everyone always talks about Daniel Ingram's musical contributions to the show, and while yes I can agree he does great work, I personally chalk up a lot of what makes this show so great musically and what makes each contribution on the show click together on William Anderson's works. This is similar to movies as well as TV; the musical cues serve as the underlying rhythm and tone of a scene that fills up the dead air between actor lines yet keep the audience engaged by the audio (versus the engagement visually by art and animation). The background music, as it seems to me, is the large fancy bow that ties the suit/room/decoration together. Usually background music is under appreciated in my opinion, so I really encourage everyone to check out whatever cartoon or tv show or movie you really like and see what the background music is doing, as I'm sure you will find that the music will be integral to what gives your favorite scenes the extra dramatic punch they deserve.

This is an easy task for anyone who has a smartphone/android/iphone/video ipod or what-have-you that can play videos on the move, but I'd encourage everyone to try this: listen to your favorite episodes as if it were a podcast i.e. only hearing the voices/sound effects and the music. You should be surprised at how many tight little musical cues are put into every line or action that might get swept up by looking at the visuals. Just imagining watching the show without the music should set off some alarms in your head that something crucial is missing.

Background music (in this context, for TV shows and music) can really enhance the show in this fashion: the music serves to enhance the tone of whatever scene it should be even further than what is possible by using visual tricks or voices which constitute our everyday lives (at the very least, MOST people don't have big fancy bands to play background music in their everyday lives). While we can see a visually epic scene accompanied by well-delivered dialogue and still get the message that "this is epic", the heroic horn line in the background slams this concept into the audience's mind further in ways the screen nor the voices can convey. Or consider a scary scene, there usually isn't much voice work going on, yet there will usually still be well-placed audio cues in the music via slow moving bass lines or a long tense string line to convey the same tenseness into the on-screen action for the viewers, usually followed by a sudden thunderous musical blast to change the mindset of the viewers and keep them on their seat. To me, I've always considered background music one of the most fundamental little workers in what makes this media work so effectively as an engaging art.


I've never studied this particular side of the music industry in depth before, so I'm sure Octavia can shed any light on that part, but I am constantly always amazed at what goes on in every single movie or TV show when everything works so well. William Anderson, you deserve a lot more praise than you've been getting, and you should be the one who gets skype calls at BroNYCon. :applejargh:








tl;dr version: Background music is amazing when done well and deserves more appreciation.






Edit: Hey look, a site that lists the shows bgms on youtube on other such bgm things! It's a dream come true!
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Post by SlateSlabrock (?) » Tue Jan 17, 2012 8:09 am

Adelor Lyon wrote:I can't find it right now, but the music during the Iron Pony competition is fantastic, too, especially when the pair are carrying the chicks on their backs. :yay:

Here's a quick hack job:
http://www.youtube.com/watch?v=HehHRP4dZxM

And is that... a shrunkified version of Model Pony watching the push-ups? :starity: Also, RD has a rainbow football. I'm getting off-topic watching this.
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Post by Octavia (?) » Tue Jan 17, 2012 8:43 am

fenster wrote:tl;dr version: Background music is amazing when done well and deserves more appreciation.


Fun background music story:

The producers of the 1945 film, "The Lost Weekend" originally didn't think that the movie needed a score, so they showed it to test audiences without one. The film is a very serious movie about an alcoholic, but test audiences laughed at it. After their film was basically mocked, the producers decided it did actually need a score, and hired Miklós Rózsa to write it. It ended up winning four Oscars for best picture, best actor, best director, and best screenplay. It did not win any Oscars for its music.

Background music should be the absolute last thing done in a film, since the composer needs to line up the music to hit certain cuts, but not step on voice-over or get overshadowed by sound effects. However, producers need to hear the music that goes with scenes before they are complete. This results in a LOT of rewrites and edits to musical pieces. In order for the brain to associate that a hit in music lines up with a cut, it needs to be within three frames (1/10 a second) after the cut, and it can't be before the cut at all. The producers are constantly changing the cut in order to make their film better, so if a scene changes by more than 1/10 of a second, then the music needs to be reworked to fit with the scene all over again for every new cut. Songwriters are lucky in that they get to write a song and then the editors mold the scene to the song. Film composers need to keep reworking their music to fit a constantly changing picture. I can't count the number of times I've been given a "locked cut" of a film, only to have two or three newer "locked cuts" dumped on me before the project ends. Hiring musicians is EXPENSIVE, so the recording of live instruments (as opposed to synths or sampled instruments) must be done at the absolute last possible minute, resulting in many late nights recording, mixing and editing the music during the final week of a project.
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Post by fenster (?) » Tue Jan 17, 2012 3:25 pm

Octavia wrote:
Fun background music story:

The producers of the 1945 film, "The Lost Weekend" originally didn't think that the movie needed a score, so they showed it to test audiences without one. The film is a very serious movie about an alcoholic, but test audiences laughed at it. After their film was basically mocked, the producers decided it did actually need a score, and hired Miklós Rózsa to write it. It ended up winning four Oscars for best picture, best actor, best director, and best screenplay. It did not win any Oscars for its music.

Background music should be the absolute last thing done in a film, since the composer needs to line up the music to hit certain cuts, but not step on voice-over or get overshadowed by sound effects. However, producers need to hear the music that goes with scenes before they are complete. This results in a LOT of rewrites and edits to musical pieces. In order for the brain to associate that a hit in music lines up with a cut, it needs to be within three frames (1/10 a second) after the cut, and it can't be before the cut at all. The producers are constantly changing the cut in order to make their film better, so if a scene changes by more than 1/10 of a second, then the music needs to be reworked to fit with the scene all over again for every new cut. Songwriters are lucky in that they get to write a song and then the editors mold the scene to the song. Film composers need to keep reworking their music to fit a constantly changing picture. I can't count the number of times I've been given a "locked cut" of a film, only to have two or three newer "locked cuts" dumped on me before the project ends. Hiring musicians is EXPENSIVE, so the recording of live instruments (as opposed to synths or sampled instruments) must be done at the absolute last possible minute, resulting in many late nights recording, mixing and editing the music during the final week of a project.


This was something that was alluded to at Daniel Ingram's interview at BroNYCon, but I was curious as to your take on this: how hectic would you say the work is in terms of how quickly do you have a deadline combined with potentially facing re-writes and such from the producers? Its been mentioned that William Anderson had about a week to do all of the music for MLP, and I wondered if having such a relatively short deadline was normal in the business?
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Post by Smoke (?) » Tue Jan 17, 2012 8:35 pm

DarkMatter wrote:Geez, Granny Smith's flashback story. It's just... so great. :awesomedash:

The music was one of the first things I've noticed in that part that really brought the ep even higher on the awesome levels for me.

Then again, I'm weird in that I pretty quickly notice the effective use of background music as well as certain musical cues and references or even instrument choice(It helps that I tend to use high-quality headphones most of the time) Also, once you start to pay more attention you notice fun stuff like the reuse of the Sonic Rainboom theme in Cutie Mark Chronicles for Dash's race(Kind of obvious but the way the track is used in CMC is quite different), as well as a variation being used early in Sonic Rainboom when Dash tries it and fails.
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Post by BartonFink (?) » Wed Jan 18, 2012 12:02 am

I'm the same way Smoke, I notice cues like that all the time (despite having like no music training at all) and am fascinated by them. I'm also one of those people that will forever like a song, even if it's not normally something I would like, if it's used effectively in a movie/show/something.

I'm at a loss of what else to post since infinitydash's entire channel is neat.
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Post by DarkMatter (?) » Wed Jan 18, 2012 12:05 am

I also take notice of background music, which made Granny Smith's story feel all the more magical to me while watching it. :allears:
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Post by fenster (?) » Wed Jan 18, 2012 1:35 am

Smoke wrote: Also, once you start to pay more attention you notice fun stuff like the reuse of the Sonic Rainboom theme in Cutie Mark Chronicles for Dash's race(Kind of obvious but the way the track is used in CMC is quite different), as well as a variation being used early in Sonic Rainboom when Dash tries it and fails.


There are a bunch of themes that get reused, its especially noticeable in the intro's of episodes and Rainbow Dash scenes. :awesomedash:
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Post by Octavia (?) » Wed Jan 18, 2012 8:30 am

fenster wrote:
This was something that was alluded to at Daniel Ingram's interview at BroNYCon, but I was curious as to your take on this: how hectic would you say the work is in terms of how quickly do you have a deadline combined with potentially facing re-writes and such from the producers? Its been mentioned that William Anderson had about a week to do all of the music for MLP, and I wondered if having such a relatively short deadline was normal in the business?


It totally depends on the project. I had a 48-hour turnaround on a project for PBS once, which was ridiculous. I worked for probably 36 hours during that 48-hour period, but still managed to get everything done. Certain producers are much worse than others, too. One of the biggest issues is what's known as "temp love." When composers are given a video to work with, they're usually given a temp score, which is pre-existing music that is similar to what the producers want. It acts as a guide for the composer. Producers can't use the temp music because the cost of licensing it would be too much. Now, the problem is the producer has been working with the temp score from the very beginning of the editing process, so he's heard it go along with his film hundreds of times by the time the composer gets a first look at it. Producers have a habit of falling in love with the temp music and then nothing the composer gives them is good enough. The worst case of this for me was on a project for HBO. The opening cue temp was a piece from some Ken Burns documentary. It was horribly fake sounding. It had a MIDI guitar that was way out of range for what a guitar can actually play, and it just sounded really fake. I gave them about a dozen different demos at a similar piece to go with that cue. I even hired a real guitarist to play on the demo they liked the best. But nope, none were good enough. They decided to just license the cringe-worthy temp piece, which probably cost more than they paid me for the entire project, and it made me embarrassed to put my name on that film.

Another fun fact: Barber's Adagio for Strings was originally the temp score for Platoon. But the producers fell in love with it and decided to license it for the film. :spike101:
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Post by Grim (?) » Wed Jan 18, 2012 11:12 am

DarkMatter wrote:I also take notice of background music, which made Granny Smith's story feel all the more magical to me while watching it. :allears:

I was never one to actively think about the BGMs being there, but that was the second instance throughout the entire show where I couldn't help it. It's just too good not to.

The first one was the part at 1:00 here:
http://www.youtube.com/watch?v=JfnUGf0k3es

So enchanting. :allears: (It also reminded me of this, rainbows and all)

Since that episode, I've had a better awareness of what I hear while watching.
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Post by Kalkkis (?) » Wed Jan 18, 2012 11:36 am

Everyone should check Youtube channel for WingbeatPony, he has vocal-free versions of episodes with subtitles. Only season one episodes, but still.
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Post by Aramek (?) » Wed Jan 18, 2012 2:56 pm

I really appreciate this thread. I'm so focused on the vocals themselves, inflection, diction, and trying to hear mastering (de-essing, Companding, and normalization of the waveform) that, while I love them, I find it impossible to really just hear the awesome BGM.
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Your MRI results have shown total infection to now be approximately one fifth of the full mass of the tissue.

"So you're saying..."

Your brain is about 20% tumor.
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Post by Headless Horse (?) » Thu Jan 19, 2012 4:40 am

Octavia, you being in the biz must give you a unique perspective on the quality of Anderson's stuff. How do you think he stacks up against his contemporaries?
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