Versión para imprimir
Por supuesto que si, de hecho es el uso recomendado por Apple. Un equipo Atmos real (es decir, ampli+ altavoces) conectado a un Apple TV 4K.Cita:
Iniciado por Ponyo_11
Que luego los auriculares Bluetooth de Apple hagan una reconstrucción binaural con streams en Atmos en dispositivos IOS (que a mi no me gusta como suena), es otro tema.
Yo es que no puedo tener ni siquiera un 5.1, ojalá :sudor Estoy harto de escuchar las pelis mal..
Otro tema es que por el ecosistema cerrado de Apple, si tienes un equipo Atmos real y quieres escuchar la música en Atmos, no te queda más narices que comprarte un Apple TV, ya que la app de Apple Music en dispositivos de terceros (Smart TV y demás), no tiene acceso a esto -de momento-.
De sputnikmusic
The best Christmas score of all time
Batman Returns has always been a misunderstood film. It’s not your traditional hero versus villain comic book flick, nor is it bloated with lousy CGI and big scale fights. There are no high-stakes involved, no doomsday scenarios are being played out. It’s not even a Batman movie, at least not in the traditional sense. No, this movie is all about outcasts and scarred psyches. It’s about doomed relationships, and inner struggles, forgiveness, and redemption. Had it been released today, it would threaten to bring a premature end to the franchise. It was a risky decision, but the studios executives were desperate to capitalize on the first film’s massive success. A sequel was inevitable, and loads of cash were laid at Tim Burton’s feet, who was at first hesitant to helm a sequel. In addition to his paycheck, Burton was granted total creative control as well. The offer was too good to turn down, and Burton returned to direct a motion picture that is first and foremost his own twisted creation, and secondary, a superhero film.
It goes without saying that Batman Returns is not a Batman movie; it’s mostly a contemporary psycho-sexual, gothic tale that so happens to take place in Gotham City. The star of the show is taking a backseat to the villains who share the spotlights. In return, we get to see the best version of those characters; this film provides the definitive Catwoman and Penguin. There’s nothing that compares to her kinky sensuality or his unsettling, frightening freakishness. We also get to receive the greatest anti-Christmas gift of all time; a superhero film without superheroes, as such, there are none to find in Batman Returns. Tim Burton’s sequel ends in misery and cynicism, just like all the great tales should. Bruce Wayne fails to save the day and all he gets is a lonesome ride to his home with nothing but his trusted butler and a cat for company. That bitter ending is more accurate than anything in Chris Nolan’s Dark Knight Trilogy.
Just as Tim Burton took many creative liberties, so did Danny Elfman in his subsequent score. The composer’s work echoes that of the first movie, but with a much greater emphasis on complexity, expression, and orchestration. Elfman takes far more chances and his coworker’s direction allows him to open up his sonic palette and deliver a classic but drastically different soundtrack. Instead of rehashing cues from the first movie, he creates a score that consists mainly of new material and themes. Tim Burton’s approach accentuates the polar opposites that made his first film; a bunch of caricatures and misfits surrounded by a dark, freakish environment. Danny Elfman follows suit and dresses the film with an -almost- nightmarish sound-scape drenched in “clowny” effects. Any association to the previous score would be ill-judged since that was action-driven, and Batman Returns is motif oriented. The music’s gothic profile is still attended with a circus-like attitude and an intricate rhythmic configuration, especially during the dramatic sequences. The operatic cues are even more theatrical in their vivid orchestrations and perfect timing, a never-ending vibrant parade of sparkling musical colors. Another major difference is that this soundtrack can be heard independently, while the previous one worked mostly like a canvas background image. The pipe organ plays a prominent role again though its application in parts is overbearing and sounds cheaply synthesized.
Elfman’s technical proficiency for thematic transformation is exceptional in this continuation. The signature Batman March marks a return but is reworked and breaks into new territory. This arrangement comes complete with arias, brass, low harps, and eerie woodwinds. By no means a Batman-related theme this is; the heroic identity is replaced with bleak darkness, its ambiance reverberates the tragic nature of a heinous crime. Elements from the first title march drift in and out of the movement and the increasing use of unusual instrumental tones lend some extra gravitas and atmosphere. As the film unfolds, Penguin’s theme is repeatedly reprised in all its multifarious glory. In Catwoman’s theme, Elfman appears to be in high spirits, treating the listener with some of his best work. Kitty Party/Selina Transforms is one of the most tragically romantic pieces ever composed in modern film history. The composer is simply brilliant in his employment of screeching violins to resemble a feline’s call and playful behavior. Surprisingly enough, no romantic motifs have been conducted for this soundtrack. To counter effect such an absence, Elfman overlaps elements from Batman and Catwoman and creates an almost unfinished melody full of sexual tension. It’s a witty trick that works ergonomically since we have plenty of material for the three characters.
The entire score is in many ways much more subtle than its predecessor and reflects the characters. It’s what I would call a musical gallery of personalities. As the Penguin character, it is tragically alluring, perplexing, but in its core, cold and heartless. The performances on the batman-related titles sound as if Elfman purposefully forced the entire mystique and triumph out of the picture. This approach of blurring the lines with the villain’s style, gives the impression that our hero will not emerge victoriously; it’s a welcoming contemplation that fits the film’s unclear and somber tone.
While almost everything appears to be in order, this record is not without its problems. The biggest one lies in its inadequate production and execution. The soundtrack for Batman Returns was recorded by an entirely different orchestra. That happened because the whole crew had to relocate from London to Los Angeles, so a separate studio was hired to perform the music. Unfortunately, the new ensemble couldn’t replace their English peers successfully. Whether it is the uninspired playing or the deliberate alternate pacing, the two soundtracks’ divergence couldn’t be more evident. What’s more, many of the tracks are separated in parts, confusing the average consumer. The remastered versions of this score offer a sensible chronological presentation of the songs, but unfortunately, the sound quality never improved.
If you can get past the bad sound quality and unfortunate packaging, you get the work of a composer who’s arguably on top of his game. It’s a brilliant score that can melt your little heart and make you feel for the characters. The entire album is fascinating and represents a significant maturation of style for Danny Elfman. It could very well be the best soundtrack he ever wrote.
:agradable:agradable:agradable:agradable:agradable
https://www.youtube.com/watch?v=0VIStKrCBHQ
Ignorad el contenido publicitario y quedaos con el mensaje :cigarro
Ponyo_11, de nuevo, muchas gracias por el aviso.Cita:
Iniciado por Ponyo_11
Acabo de entrar en la página web de correos (al ver que en la página de Lalaland records el seguimiento llevaba parado días) y el paquete estaba en aduanas desde el día 23. Acabo de pagar el IVA (4.55 €) y espero que me lo envíen pronto.
Saludos
Un placer servir de ayuda, compañeros. :gano
Vamos a ver si hoy ya reparten, que por fin no es festivo.
https://www.youtube.com/watch?v=_C7qi8P48X8&t=6s
¡Fantástica!
1. Welcome (4:00)
2. Manny and Nellie’s Theme (0:53)
3. King of the Circus (2:28)
4. Jub Jub (0:56)
5. Coke Room (2:31)
6. My Girl’s Pussy (2:29)
7. Idaho (0:55)
8. Voodoo Mama (3:59)
9. Gold Coast Rhythm (Wallach Party) (1:41)
10. Ain’t Life Grand (1:38)
11. Babylon (0:30)
12. Morning (2:00)
13. Kinescope Ragtime Piano (0:35)
14. Kinescope Erhu (Orientally Yours) (1:28)
15. Kinescope Circus Music (0:49)
16. Kinescope Organ Music (0:45)
17. Night on Bald Mountain (2:08)
18. Herman’s Hustle (2:02)
19. Gold Coast Sunset (2:00)
20. Champagne (2:55)
21. Wild Child (3:03)
22. New York (2:02)
23. See You Back in LA (0:48)
24. Red Devil (1:56)
25. I Want a Man (2:02)
26. Orientally Yours (2:11)
27. Gimme (1:32)
28. Singin’ in the Rain (1:22)
29. Pharoah John (0:39)
30. Meet Miss LaRoy (0:39)
31. Call Me Manny (3:37)
32. Hearst Party (6:41)
33. Damascus Thump (2:10)
34. All Figured Out (0:55)
35. Nea Smyrni (2:03)
36. Waikele Tango (3:38)
37. Toad (2:01)
38. Blockhouse (2:10)
39. Jack’s Party Band (1:34)
40. Gold Coast Rhythm (Jack’s Party) (1:42)
41. Levántate (0:34)
42. Señor Avocado (2:23)
43. Heyo (3:00)
44. Gold Coast Rhythm (Juan Bonilla) (2:56)
45. Te Amo Nellie (1:31)
46. Gold Coast Rhythm (Sidney’s Solo) (2:47)
47. Manny and Nellie’s Theme (Reprise) (0:45)
48. Finale (3:51)
Yo he recibido ya el paquete con la banda sonora de Spider-man. Pagar las tasas y llegar en menos de 24 horas.Cita:
Iniciado por Nyarla_thotep
Saludos
Cita:
Iniciado por Tripley
Tripley, lo vas a gozar. Magnífica edición.
A ver si hago un hueco para escucharla tranquilamente.Cita:
Iniciado por Branagh/Doyle
Saludos
Has sido más afortunado que yo jajaja.
Las pagué el 22 y aún estoy esperando, pero cuando vives en Cádiz te haces a la idea de estos retrasos y más en estas fiestas.
Nyarla_thotep, espero que te llegue pronto la banda sonora.
Saludos
Vamos a ver si hoy hay más suerte. Mi pedido trae al padrino y el barquito de Spielberg además de al trepamuros.Cita:
Iniciado por Tripley
https://www.youtube.com/watch?v=j-NQj1H7qoo
"Elfman establishes an entirely different mood for this film... mostly done with his use of orchestration (choir, organ, contrabass clarinet)"... and BONGOS. FOR THE LOVE OF GOD, THEY ARE EVERYWHERE.
:mparto :lol. :abrazo
Heitor Pereira con El Gato con Botas: El Último Deseo.. no me convence, la verdad. Es muy sonido de fondo. Las comparaciones son odiosas pero comparada con la maravillosa partitura de Henry Jackman de la primera, la deja en pañales. El score de esta secuela sufre mucho de Zimmeritis, en el peor sentido. Demasiada música ''orquestal'' ahogada en mezclas, mucha post producción y instrumentos a veces sampleados.. no es que sea música horrible, ni digo que sea una bazofia, pero destaca poca cosa. Es muy sonido de fondo. No hay nada que salga del cine tarareando y la verdad, me da pocas ganas de reescuchar la OST en separado. Es triste, muy triste porque la película me ha ENCANTADO y la verdad merecía algo mejor. Y la verdad creo que Pereira ha hecho algún que otro trabajo algo mejor.
https://i.postimg.cc/TwgvQb3s/IMG-20221229-105647.jpg
La trinidad navideña. Foto al más puro estilo LLL. :cuniao
Cita:
Iniciado por Nyarla_thotep
Que maravilla de foto.
Fotaza!!! Que las disfrutes compañero :)Cita:
Iniciado por Nyarla_thotep
No he podido catar ni un solo disco por el momento. Las obligaciones paternales de padre separado y el sufrimiento a raíz de una muela extirpada sobre las diez de la mañana, lo han impedido por completo.
Sí he tenido, al menos, la oportunidad de obrar las prácticas dignas de Depredador y arrebatarles su piel de plástico. ¿Y qué decir? Como siempre la belleza y exquisitez de los serigrafiados y los libretos ya valen el precio. Incluso el de aduanas.
Por lo visto TAMBIÉN, hay un concierto para violonchelo de Elfman (lo estrenó en Marzo), quién últimamente está desatado con la música de concierto (sin abandonar la de cine). Esperemos que lo editen pronto.
En Agosto, estrenó una pequeña pieza para la National Youth Orchestra of Great Britain (un encargo), que no se ha editado aún pero si retransmitido via BBC radio, y que alguien subió a Youtube.
Una maravilla, una joya:
https://www.youtube.com/watch?v=9vJDmtX1fno&t=89s
My goal is to do one classical piece per year. It’s been like that for six or seven years now. I made the decision that I was simply going to take off part of each year from film and commit to concert writing, and I’ve pretty much stayed on course.
Acabo de ver Ruido de fondo y el trabajo de Elfman me ha parecido muy bueno y variado, incluso juguetón a veces si lo requiere la escena.
Saludos
No sé si Tripley, al ser "música clásica" y no de cine, está adquiriendo/interesado en adquirir esta parte de la obra de Elfman, pero se lo recomiendo encarecidamente porque a nivel musical es puro Elfman sin adulterar. Si recuerdo que recientemente compraste su concierto para percusión, que me lo dijiste por MP.
:abrazo:abrazo
Cita:
Iniciado por Tripley
Efectivamente. No para de trabajar, el tío.
Sí, de Elfman creo que tengo toda su "música clásica": Perspectives, con su cuarteto de percusión, su Concierto de violín, el Ballet Rabbit & Rogue, Iris para el Circo del sol y Serenada SchizophranaCita:
Iniciado por Branagh/Doyle
Saludos
Pues ahora a esperar que se edite el concierto para chelo y orquesta, y la pieza esta para la orquesta juvenil que enlacé en Youtube ayer. :D
La-La-Land estrena el año:
http://i.ibb.co/kGk5zSg/CHAPLIN.jpg
Que mejor forma que con un Desplat
https://m.media-amazon.com/images/I/...L._SL1500_.jpg
4 de Enero
Giacchino va dirigir (y componer la musica) del remake de Them!, una monster-movie cincuentera con hormigas gigantes radioactivas, puede ser un autentico deleite de homenaje total al genero.
https://www.jwfan.com/forums/uploads...e0a2d89068.png.
Compartieron esto en Febrero del año pasado via Facebook.
¿Qué es esto?. Esto amigos míos, es la caligrafía de John Williams, su puño y letra. ¿Y qué estamos viendo?. Pues estamos viendo los cortes The Warehouse and End Credits de Raiders of the Lost Ark. Esto, queridos míos, es HISTORIA VIVA de la música de cine. Un manuscrito (partitura) de 1980.
Nuevo lanzamiento de Quartet Records ya disponible:
https://quartetrecords.com/wp-conten...-OF-HEARTS.jpg
Quartet Records, Geffen Records and Paramount Pictures present the premiere release of the complete score by Harold Faltermeyer (BEVERLY HILLS COP, TOP GUN, FLETCH, TANGO AND CASH) for Douglas Day Stewart’s 1984 sexual, romantic drama-thriller THIEF OF HEARTS, starring Steven Bauer, Barbara Williams and John Getz. The film is about a woman trapped in a boring marriage who begins an affair with a handsome man who seems able to read her mind. She doesn’t know that he has broken into her house and read her diaries, in which she has recorded her deepest thoughts and fantasies.
Harold Faltermeyer provided an intense, romantic and suspenseful electronic score, varied and rhythmic. The composer also wrote and produced several pop songs for the film, and arranged the original song “Thief of Hearts,” composed by Giorgio Moroder and performed by Melissa Manchester, which was a huge hit in its single version.
The popular THIEF OF HEARTS soundtrack album was released by MCA on LP and CD and reissued several times over the years, although in its 40-minute length it included only the five songs and five score cues specifically arranged for the album. This limited 2-CD edition from Quartet Records includes, for the first time, the complete score composed and recorded by Faltermeyer for the film, and also the remastered MCA album, unused cues, demos, and alternate versions of both score and songs. A treat for all fans of 80s synth sound!
Meticulously produced by Dan Goldwasser and mastered by Doug Schwartz, the 20-page full color package includes in-depth liner notes by film music writer Daniel Schweiger.
Doug Adams (músicologo, escritor y analista de música de cine), en Abril de 2021. Fuente hiper fiable.
Is there any real evidence that Williams didn't like the Rogue One score or how his themes were treated there?
The Rogue One stories are indeed true. Same thing happened back on Shadows of the Empire, although in that case it was too late to change anything. Rogue One, on the other hand, had to be largely rewritten.
Was Williams happier after the rewrites?
Happier, yes. Happy, no
Mi opinon sincera.
Lo provocado por Williams, si realmente es cierto, deja en entredicho parte de su critero, en lo acontecido, tanto en Rogue One (a saber lo que originalmente el score de Giacchino) y Obi Wan.
Pues no esta nada mal el trabajo de James Newton Howard y Xander Rodzinski para la serie de Willow.
Hay mucho material de Horner, reutilizado y re-arreglado junto con la musica de ambos compositores, me parece cuestionable que Disney diga que Howard solo ha hecho tres episodios y Rodzinski el resto, cuando la realidad parece ser distinta, pues ambos compositores han trabajado codo con codo en los 8 capitulos, de forma similar a Elfman y Bacon en Wednesday -puesto que en aquella incluso cuando solo estaba acreditado Elfman, Bacon hizo musica adicional en los episodios que musicalizo el pelirrojo-
No es que estemos ante uno de los trabajos mas brillantes del angelino, pero de una solidez suficiente y remarcable, a estas alturas, creo que a Howard se la ha masacrado impunenmente en la comunidad porque sus scores contienen electronica (recuerdese las burlas a Raya) y menos elementos organicos, aqui en este Willow hay electronica, mas que nada guitarras electricas y algun sound-design, pero prima mucho la orquesta con el material tematico de JNH/Rodzinski y Horner, de una forma mas que aceptable, tanto en su material mas dramatico como actioner.
https://www.youtube.com/watch?v=czNDDRER5j4
https://www.youtube.com/watch?v=XkjONdls7l4
https://www.youtube.com/playlist?lis...7kgaWfwTwdYEOw
Habrá que escucharla aislada, porque en la serie la música parece bastante discreta y poco inspirada, además de tener que competir con la selección de música pop que también aparece :fiu Quizás en los últimos episodios, a la vez que la serie se asienta algo, llega a tener algo más de protagonismo, pero para a mi ha sido una decepción importante.Cita:
Iniciado por PrimeCallahan