synth and cinema

Discussions about anything analog, digital, MIDI, synth technology, techniques, theories and more.
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hinotori
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Post by hinotori » Mon Jul 17, 2006 5:30 pm

thanks

ill be asking santa for them this year. . . .

:)

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OriginalJambo
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Post by OriginalJambo » Mon Jul 17, 2006 5:36 pm

hinotori wrote:thanks

ill be asking santa for them this year. . . .

:)
Well you are in luck because they are quite common and cheap...well the ESQ-1 is at least. Very dark sounding anyway. :)

The only synths I've seen go for cheaper here are Kawai kx's, Casio CZ-x's and the inferior models of the most popular synths - Yamaha DX-x's, Roland D-x's for example.

You should be able to find one without your wallet or bank account taking a huge hit. ;)

Then again Ensoniq was an American company so finding one in Japan might not be so easy...

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Micke
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Post by Micke » Mon Jul 17, 2006 10:05 pm

hinotori wrote:hi

i love his soundtracks for the fog / the thing / christine . . all his movies but of course my favorites would be :

assault on precinct 13
escape from new york

also . . . any idea about the sound effects etc on dark star ?[/img]

Hinotori, I actually don't know what synth(s) could've been used on Carpenter's Dark Star (music recorded at the end of 1973) but it sounds like it could be an Arp 2600 or something similar. I have asked Carpenter this question but he doesn't remember....

I'm not sure about The Thing (early 1982) either because most (if not all) of this superb soundtrack was composed by Ennio Morricone and performed by his Italian musicians. Also, only one or two pieces on this score were performed on synthesizers, the rest was all orchestral stuff.

However, I do know for a fact that all the synthesis for Assault on precinct 13 (1976), Halloween (1978) and The Fog (1979) were done on an extended Moog modular IIIP consisting of 5 box units (incl. the model 960 double sequencer cabinet).

These three scores were recorded at Dan Wyman's Sound Arts Studio in LA. Interestingly, Mr. Wyman was the synth-programmer for both Carpenter and Giorgio Moroder during this period.

The later soundtracks to Escape from New York as well as Christine were made in collaboration with LA synthesist/programmer Alan Howarth.

Gearlist for Escape from New York (music recorded at the end of 1980 at Alan Howarth's Pi West studio, LA):

SCI Prophet-5
ARP Quadra
ARP Avatar (2)
ARP Sequencer
Roland CSQ-600 Sequencer
Sequential Circuits 700 Programmer
Roland SVC-350 Vocoder
Linn LM-1 Drum Computer

Gearlist for Christine (music recorded in the autumn of 1983 at Howarth's PI West studio, LA):

SCI Prophet-5
SCI Prophet-10 with Poly sequencers
Sequential Circuits 700 Programmer
E-mu Systems Emulator 1 with 8 voices
ARP Avatars x2 (guitar Synthesizers) and Arp Sequencer
Linn LM-1 Drum Computer
Moog vocoder
Fender Stratocaster and Jazz Bass

Howarth's own scores to Retribution and The Osterman weekend (both from 1983) were recorded with pretty much the same gear as that used for Christine.

As already mentioned above, Carpenter & Howarth did use Ensoniq synths (an EPS and SQ-80) but afaik only on 1988's They Live and Halloween IV (the latter score composed and performed by Howarth on his own).

Hope this helps

Micke
"The (Yamaha) CS-80 is a step ahead in keyboard control, and a generation behind in digital control" -- Dan Wyman, Jan 1979

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Post by OriginalJambo » Mon Jul 17, 2006 10:11 pm

By the sounds of it Micke is infinitely more informed than I am about Carpenter's use of synths. :)

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Post by Micke » Mon Jul 17, 2006 10:20 pm

OriginalJambo wrote:By the sounds of it Micke is infinitely more informed than I am about Carpenter's use of synths. :)
The reason I know this much about Carpenter's stuff (which I love) is that I've been in contact (lenghty email conversations) with both Dan Wyman and Alan Howarth. Carpenter himself doesn't remember much about those old soundtracks, at least not what specific synths were used.

Micke
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Post by the_analog_robot » Tue Jul 18, 2006 1:43 am

MMMM wrote:*Corpus Collosum
by Michael Snow



(A 90 minute digital movie from 2001 fully accompanied by a single synth, the Octave Cat)
damn...i hate Michael Snow.

there's one of his films i like though, and it was digital, but i don't think it was Corpus Collosum...i think it was The Living Room.

you wouldn't happen to know what makes the annoying noise in Wavelength, would you?

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Post by hinotori » Tue Jul 18, 2006 3:24 am

wow micke ! ! ! !

great information, and dream studio lists. .
i remember seeing some pictures that maybe you posted on here before, of moroder and carpenter at work in the studio .

if you talk to any of the great men again, please thanks them from me for their works.

was this the studio used for "from here to eternity" and "e=mc2" ? ? ?

thats a pretty important place in the history of synthesizer music. . . does it still exist ?

btw. . . i love michael snows films :)

arp 2600 . . this made R2D2 ? seems to be the sci fi FX synth of the seventies. . . anyone know any more instances of its use in scifi sound design ?

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Post by Zamise » Tue Jul 18, 2006 7:43 am

Big with Tom Hanks figuring out how to play chopsticks with his feet, don't know the synth, but it has to have been one.
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Post by Style » Tue Jul 18, 2006 2:15 pm

Zamise wrote:Big with Tom Hanks figuring out how to play chopsticks with his feet, don't know the synth, but it has to have been one.
It's a giant electric piano located in Fao Schwartz in NY. Last I heard it was still there, some employee posted a video on youtube of her and a co worker doing a demo on it.

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Post by mpa1104 » Tue Jul 18, 2006 2:19 pm

Not technically a synth, but I think there was a Yamaha HX-1 in "Running Man" in the girl's apartment.

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Post by MarkM » Tue Jul 18, 2006 2:58 pm

One of the earliest glimpses I can remember seeing a synth in a film was a Moog Modular being played by Mick Jagger in "Performance". That was a late 1960s film.

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Post by Micke » Tue Jul 18, 2006 3:01 pm

hinotori wrote:wow micke ! ! ! !

great information, and dream studio lists. .
i remember seeing some pictures that maybe you posted on here before, of moroder and carpenter at work in the studio .
You're welcome. Yeah, that was me posting those pics.
if you talk to any of the great men again, please thanks them from me for their works.
Will do so :)
was this the studio used for "from here to eternity" and "e=mc2" ? ? ?
Do you mean Dan Wyman's Sound Arts studio in LA?

Actually no, "From here to Eternity" was recorded at Musicland studios, Münich (in June 1977) just before Moroder connected with Wyman.

This album featured Moog programming by Robert Wedel who also did the Moog programming on the Moroder produced Donna Summer hit "I Feel Love" (1977)


E=MC2 (recorded in June 1979 at Rusk Sound Studios, another LA studio) was after his "Wyman period".

Harold Faltermeyer was responsible for the synth-programming on this record, utilizing a Roland system 700 modular synthesizer with a couple of MC-8 sequencers (hence the *MC2* in the album title).
thats a pretty important place in the history of synthesizer music. . . does it still exist ?
It sure is. Anyway, Sound Arts ceased to exist as a studio a long time ago. Wyman left in 1981 but the studio continued well into the '80s I think.

As a matter of fact, before this studio was (partly) re-equipped and renamed *Sound Arts* in January 1975, it was run and owned by Paul Beaver (who died in Jan 1975) and Bernie Krause and went under the name *Parasound*.
arp 2600 . . this made R2D2 ? seems to be the sci fi FX synth of the seventies. . . anyone know any more instances of its use in scifi sound design ?
Can't think of any at the moment...but its big brother, the Arp 2500 modular synthesizer features all over Jerry Goldsmith's 1976 soundtrack to "Logan's Run". Lots of weird Sci-fi effects on there.
"The (Yamaha) CS-80 is a step ahead in keyboard control, and a generation behind in digital control" -- Dan Wyman, Jan 1979

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hinotori
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Post by hinotori » Sat Jul 29, 2006 4:15 am

so....

what did moroder produce in his wyman period ?

and. . .

are alan howarths soundtracks available to buy.... and did wyman or howarth make any solo / non soundtrack music . ?

thanks micke

:)

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Post by Micke » Sat Jul 29, 2006 3:18 pm

hinotori wrote:so....

what did moroder produce in his wyman period ?

and. . .

are alan howarths soundtracks available to buy.... and did wyman or howarth make any solo / non soundtrack music . ?

thanks micke

:)
Dan Wyman synth-programming credits:

Carpenter: Assault on precinct 13 (summer 1976)

Indonesian Boomerang (some anti-war film from 1976)

Earth, Wind & Fire: Getaway (summer 1976): the first song ever to utilize the SCI model 800 digital sequencer.

Metamorphosis (Winds Of Change, film produced in 1976) - sound effects only

Moroder/Donna Summer: Once upon a time (mid 1977)

Angel: On earth as it is in heaven (1977)

Moroder/Munich Machine: A whiter shade of pale (spring 1978)

Sequential Circuits: demo recording for the original Prophet 5 Rev 1 (May 1978)

Moroder/Chris Benett: Love's in you, love's in me" (summer 1978)

Carpenter: Halloween (June 1978)

The Three Degrees: New Dimensions (fall 1978)

Moroder/Sparks: No 1 song in Heaven (winter 1978/79)

David Shire - Apocalypse Now soundtrack (early 1979) - Shire/Wyman's version of the soundtrack (of which I've been told was nothing short of superb) was not used in the film and never released to the best of my knowledge.

Moroder/Japan: Life In Tokyo (early 1979)

Moroder/Donna Summer: Bad Girls (spring 1979)

Moroder/Summer/Diana Ross: Enough is enough; single (1979)

Carpenter: The Fog (summer/fall 1979)

Toni Basil - Word of mouth (1981): synth-programming on "You gotta problem" and "Space Girls" (Devo covers) Synthesizers: Dan Wyman, Greg Mathieson and Mark Mothersbaugh (of Devo)


Dan Wyman composing credits:

The Return (1980)
Hellnight (1981) - a killer score featuring a small orchestra and two single-keyboard Prophet 10's!!!
Without Warning (1980)
The Dead Pit (1989)
The Lawnmower Man (1992)

None of the above scores have been released on vinyl or compact disc as far as I know.
I'd love to see a CD release of the Hellnight soundtrack because it's f-ing great IMO.
"The (Yamaha) CS-80 is a step ahead in keyboard control, and a generation behind in digital control" -- Dan Wyman, Jan 1979

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hinotori
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Post by hinotori » Sat Jul 29, 2006 4:09 pm

wow....

thatll keep me busy in the dustier record stores of tokyo .

i can only imagine the apocalypse now soundtrack . . . sounds pretty good ;)

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