Is Arturia really an accurate emulation of the synths the try to emulate?

[zzz00m]

^^A good description of the movie as a whole, really. The Zimmer-ian blorts and drones were entirely of a piece with the rest of it. No soundtrack, CS-80 or no, was going to impart any soul to that cold, sterile slog of a film.

This here is worthy of its own potential record setting page count KVR thread all by itself!

[foosnark]

My opinion is the original Blade Runner was an okay film that happened to have amazing, groundbreaking, hugely influential visual design and cinematography and probably the greatest electronic score of any film to date. BR2049 struck me like a Black Mirror episode that ran 90 minutes too long, only with a forgettable score. (That's not entirely an insult since I enjoyed most Black Mirror episodes.)

I don't want to give too much credit to the CS-80 for that score; I would say rather than it was Vangelis' masterwork, and the instrument served its master well.

[fmr]

I don't want to give too much credit to the CS-80 for that score; I would say rather than it was Vangelis' masterwork, and the instrument served its master well.

Of course, it's Vangelis mastering that makes Blade Runner a great soundtrack. Actually, I think that if it wasn't for Vangelis, the CS80 would have fallen into oblivion already.

It wasn't just Blade Runner. It was also Spiral (where it was already used), Beaubourg (I can't believe so many ignored it in a forum dedicated mainly to synths), China, Opera Sauvage and Chariots of Fire. With more or less presence, the CS80 marked with its sound all these masterpieces.

This was perhaps the richest creative period Vangelis had, and the CS80 had an important role in it. But it was Vangelis mastery that created these great works, not the CS80, obviously.

[foosnark]

It wasn't just Blade Runner. It was also Spiral (where it was already used), Beaubourg (I can't believe so many ignored it in a forum dedicated mainly to synths), China, Opera Sauvage and Chariots of Fire.

Back in the day, and in the suburbs, these things weren't always easy to find. Chain record stores might have the soundtracks but his other work was only sporadically available. I had China (but it was destroyed by my cheap Walkman clone, grrr), Mask and Albedo 0.39 -- this is actually the first time I've heard of Beaubourg, but I see it's on YouTube at least.

[Dasheesh]

What makes the original still relevant is that it was genuine. Doesn’t matter.. those days are gone. No use dwelling on the past. I’m just not impressed with 12 different guys with their hands on the soundtrack. All of them told what to do. All of them over producing the product until it hurts the ears, and using filler risers and presets for the rest of it. I’m not only not fooled anymore... it’s so expected that you have to keep blasting it louder hoping it will be more impactful. Louder does make it better. That’s the edm thinking that has killed music in general.

[Sound Mechanics]

If you scroll down on Arturia's 'Sounds' page to the Vangelis, JMJ, Kraft & Tangerine Tribute sound-sets and compare to the original tracks, you can here how close they can get.
I like their synths very much, hence inspiring my first sound bank...

https://www.arturia.com/v-collection/v- ... on-presets

[waltercruz]

If you scroll down on Arturia's 'Sounds' page to the Vangelis, JMJ, Kraft & Tangerine Tribute sound-sets and compare to the original tracks, you can here how close they can get.
I like their synths very much, hence inspiring my first sound bank...

https://www.arturia.com/v-collection/v- ... on-presets

The Pink Floyd tribute sound set is very good!

[machinesworking]

So because you saw it at a theater with a subpar soundsystem with the speakers blowing up 6 times, it's the fault of the music? If the sound system sucks, then how do know it's "badly recorded, horribly mastered"? I heard it on my monitors and it sounded great, the soundtrack added a lot to the feel of the movie.
And if there are "moments" where it's good, then how can it be "total garbage" ? You're a better judge than Hans Zimmer and the entire audio production crew for the film? That's the epitome of arrogance.

It's was a brand new theatre, I could hardly blame the theatre. The rest of the movie sounded not overtly loud, it was definitely due to the way they mixed and mastered the soundtrack, period. Music is almost entirely a subjective experience, especially everything out of the realms of classical and jazz. In my opinion almost all music has some redeeming value, but overall the soundtrack was awful, especially when compared to the original.
You can disagree, that's your right, but to me Zimmer is mostly a subpar composer, so citing him as some epitome of standards doesn't work here. Do you seriously think it's arrogant to not like the mix, composition or mastering of some established musician or another because of their credentials? That's to me the epitome of arrogance in a supplicatory kowtowing to authority way.

[machinesworking]

There are moments but overall total garbage compared to the original.

^^A good description of the movie as a whole, really. The Zimmer-ian blorts and drones were entirely of a piece with the rest of it. No soundtrack, CS-80 or no, was going to impart any soul to that cold, sterile slog of a film.

I agree, it was fun to look at, but it had no soul, which is pretty funny considering the over all "message" was that machines could have souls.

The amount of dystopian movie tropes they tried to rope in but that led nowhere was impressive. Devil CEO, child labor, 1980's sci fi style "rebel" forces etc. etc. They really had no clue as to how to ad depth to the movie.

When I was a kid I thought Ridely Scott was going to be one of the greatest directors ever, after Alien and Blade Runner, but nothing he's done since has come even remotely close. Some people have moments of genius, and his seemed to have been a period in the late 70's early 80's and that's it. He started in the advertising industry and pretty much everything else he's done reeks of that, visually on point, lifeless, painful attempts at depth, and horrible character development etc.

[wagtunes]

FWIW, I rarely go to the movies anymore and not because of the soundtracks but to be fair, we are absolutely in the loudness wars. If you can't hear it, you're in denial. Every sound, let alone second of music, is so totally over the top these days. Have you ever actually listened to what it sounds like when somebody punches another person. Trust me, it DOESN'T sound like that in real life. Everything is over the top. For whatever reason, movie makers feel that to compete in today's world you need to crank up the volume. I mean my God, everything sounds like a door slam amplified 100 times. Enough already.

And the super hero movies are the WORST offenders.

Look, you may like this stuff (obviously people do) but please let's not pretend that what's going on isn't going on.

I didn't see Bladerunner whatever. But if somebody says the soundtrack was stupidly loud, I believe them. Because I've heard it all way too many times myself.

This is the reality of the cinematic world that we live in today.

[fmr]

When I was a kid I thought Ridely Scott was going to be one of the greatest directors ever, after Alien and Blade Runner, but nothing he's done since has come even remotely close. Some people have moments of genius, and his seemed to have been a period in the late 70's early 80's and that's it. He started in the advertising industry and pretty much everything else he's done reeks of that, visually on point, lifeless, painful attempts at depth, and horrible character development etc.

FWIW Ridley Scott has nothing to do with this movie: http://www.imdb.com/title/tt1856101/ful ... t_ov_st_sm

He was the director of the original Blade Runner. And I liked several of his movies after Blade Runner.

[Dasheesh]

I like you machine working, you seem genuine, but if we are going to talk about Zimmerman and the crew (who do see posts here) we should get the record strait. What I understand happened with this soundtrack is that the studio wanted it to be a hit so they went looking for names. Zimmerman has done some fantastic futuristic scores... really good. Just look at his wiki page and consider the video games he has done etc.... But this particular score was a major release... and he and others on this board, who are regular posters BTW, take jobs for money. It's not his fault or "others" fault they got paid for a job. This was a bad way of going about it from the studio. They had demands and expectations (guidelines) that had to followed, which ultimately come back to what we will pay for. So, if you want to complain about the things that are done poorly (it was), we have to realize it was done this way because they are catering to the masses, and if we could get over our pride and do the same... we could also be in their position. Maybe Mouse head and DJ Karaoke (what ever the hell he calls himself) were right all along. maybe we should just crawl back into our shadow because we will never get over our pride... and it's a numbers game.

[zzz00m]

FWIW Ridley Scott has nothing to do with this movie: http://www.imdb.com/title/tt1856101/ful ... t_ov_st_sm

He was the director of the original Blade Runner. And I liked several of his movies after Blade Runner.

Blade Runner 2049 = Denis Villeneuve https://www.imdb.com/name/nm0898288/?ref_=tt_ov_dr

[zzz00m]

I like you machine working, you seem genuine, but if we are going to talk about Zimmerman and the crew (who do see posts here) we should get the record strait. What I understand happened with this soundtrack is that the studio wanted it to be a hit so they went looking for names. Zimmerman has done some fantastic futuristic scores... really good. Just look at his wiki page ...

Just to set the record straight, nobody named Zimmerman worked on the movie score.

[Dasheesh]

I like you machine working, you seem genuine, but if we are going to talk about Zimmerman and the crew (who do see posts here) we should get the record strait. What I understand happened with this soundtrack is that the studio wanted it to be a hit so they went looking for names. Zimmerman has done some fantastic futuristic scores... really good. Just look at his wiki page ...

Just to set the record straight, nobody named Zimmerman worked on the movie score.

Really? It’s my understanding that they had sound designers that handed it over to Zimmerman who made a bunch of stems who handed it over to a producer who put the thing together and handed it over to the movie engineer who put it to the movie... am I wrong about that? Maybe I should go read the articles posted but that was my impression.