For convenience (as I always do when I make these comparitive posts), I have included an mp3 sample of what I'm referring to below. I've organized it into a back-to-back 1 minute suite. It's a very small file (376kb), so don't hesitate to listen!

Click here.

Cool, huh?
Jeron

PS- I feel really iffy about this claim I'm making. There is SOMETHING similar about these two pieces... And no, the similarity is deeper than the fact that they share a minor key.

NP- The Edge (by that guy)...

The theme I find more interesting in that film, though, is the main Dennis the Menace theme. It's basically just a descending scale with a few small modifications. There's no other composer in the business who could pull off something as simple as that so well!

And as for THE FINAL CONFLICT... I don't know what CD you guys are listening to, but damn is it a kick ass recording. It's got a full sound and the chorus, sorry guys, is really recorded well. Then when the lower brass instruments kick in... WOW!!! You can really feel the blasts as if you were standing right there on the conductors podium. I love the score and the recording. MHO of course!

a hopelessly underrated score, which was rather well represented on the CD.

We look too far into these things when analyzing scores. People need to realize that writing something totally original is near to impossible. If two themes sound similar, then so be it. We can all go through a piece and pick out similarities to another work.

Nevertheless Jeron, for being a non-musician you have a very keen ear! Keep up the good work!

Aaron

NP: Rage and Rememberance- Chaconne

HOLLOW MAN, to me, is one of the best-sounding orchestral albums I've ever heard. I run hot and cold on the score itself; perhaps as Jeff Bond suggested at a TOTAL RECALL thread, it's simply one that, like TOTAL RECALL, simply must grow on one.

Still, different people have different kinds of ears ... as one of his fellow Monty Pythonites said of John Cleese, "he doesn't even understand the point of STEREO!"

In my opinion, the album release of THE FINAL CONFLICT suffers from particularly poor sound quality, though such is the magnificence of Goldsmith’s composition, the CD is still well worth having. That said, the poor sound quality of the Varese album has less to do with the acoustics of the recording chamber, and is primarily the result of the transferral of the material from its original source.

I would agree that the placement of the orchestral forces and the choir appears to be well-judged, but the quality of the reproduction leaves an awful lot to be desired, it sounds as though the album has been recorded directly off of a poorly tuned television, with frequent distortion and fading and a general loss of instrumental clarity and detail.

I am not necessarily criticising the engineers involved in the creation of the Varese album, because they probably did the best they could with the existing recordings and technology available….indeed, it would appear that the only possible way an album that does full justice to Goldsmith’s wonderful score could be produced, would be for the score to be re-performed, but one feels that perhaps a certain quality that made the score so compelling in the first place may be missing from a new performance. I guess we’ll just have to be satisfied with the existing album.

Though I have often criticized the hollow-sounding acoustics of many of Goldsmith’s ‘90s albums (often, it’s almost as though the music has been recorded in a huge and draughty aircraft hangar, and sometimes the quality of the recording is a little dry, such as with BASIC INSTINCT), I believe the acoustics, depth of recording and sound quality of his albums since, and including THE HAUNTING, have represented a marked improvement.

quote:

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Originally posted by DANIEL2:
In my opinion, the album release of THE FINAL CONFLICT suffers from particularly poor sound quality, though such is the magnificence of Goldsmith’s composition, the CD is still well worth having. That said, the poor sound quality of the Varese album has less to do with the acoustics of the recording chamber, and is primarily the result of the transferral of the material from its original source.

I would agree that the placement of the orchestral forces and the choir appears to be well-judged, but the quality of the reproduction leaves an awful lot to be desired, it sounds as though the album has been recorded directly off of a poorly tuned television, with frequent distortion and fading and a general loss of instrumental clarity and detail.

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Jeron, you are a goof!