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Interesting -- never heard it before. I suspect, being a non-profit series because of the IP rights issues, there can't be a legal release of the original scoring.
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Just watched To Boldly Go parts 1 and 2 last night.
1) I feel like I just watched the last episodes of Star Trek. Most impressive.
2) The MUSIC is amazing. And I guess that answers the question of how the samples could sound so good. Real TV shows can't get real orchestras but an internet fan series can?!?
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Real TV shows can't get real orchestras but an internet fan series can?!?
Real TV shows can't afford to contract a real orchestra, but an internet fan series can accept the help of people who donate their talent and time because they want to be involved.
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There's a big difference between a tv show which does 15-20 shows a year and a fan film series that put out 10 episodes sporadically over the course of five years.
And again every episode of Continues did make use of tracks off the box set. These weren't full scores.
All true. I was just shocked that the had an orchestra at all.
It was a fun experience after hearing all of the tracked cues to hear a piece of music swerve right when I was expecting left.
This is the first fan film where I've really wanted the music.
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Real TV shows can't afford to contract a real orchestra, but an internet fan series can accept the help of people who donate their talent and time because they want to be involved.
Except for "The Orville".
Except for "American Dad".
Except for "Family Guy".
Except for "The Simpsons".
Except for "Star Wars: Rebels".
And others I don't recall off hand.
It's really what the budget can afford (now, how that budget is put together is a whole other story).
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Posted: |
Nov 17, 2017 - 11:06 AM
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By: |
Broughtfan
(Member)
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It's an interesting exercise to be sure and I applaud Farber's attempts at capturing the old "Trek" score sound. However, had ST:TOS been renewed for a fourth year (1969-70 season) I am confident that electronics (particularly electronic sequencing) would have figured much more into the scoring, the powers-at-be at Paramount/NBC probably insisting on a more "modern" sound (Duning had already used, to good effect, the Yamaha E-3 on "the Empath"), perhaps something along the lines of what Ray Ellis did for ST: TAS, in an attempt to appeal to a growing, younger demographic (because young people, even in those days, bought cars, shampoo, fabric softener, frozen pizza rolls and toothpaste). S3/4 Mannix, S4/5 M:I scores (that is, the more orchestral-sounding cues) provide some indication of what S4 "Star Trek" music might have sounded like as both Paramount-produced series employed a number of former Star Trek composers: Steiner, Fried, Duning and Fielding (whose style evolution can be heard on this show). Courage, who likely had all the work at Fox he could handle with major film orchestrations assignments, episodes of Bracken's World, Lancer, Daniel Boone, etc, might have returned for an episode (provided Roddenberry wasn't too heavily involved*). Also, since Laurence Rosenthal was scoring some Mannix's at the time he, too, may have been brought into the "Trekverse" (all of his "Mannix" scores are superb, among the best scoring in the series) as he would have fit right in with the ST veterans. Harry Geller, who worked on VTBS, Land of the Giants, WWW and M:I, might have been another composer tried out.
More power to you, Andy. Sounds like one "cool gig."
* - because of Roddenberry attaching dashed off lyrics to Courage's theme (in an attempt to make some money of the show) entitling the former to half of Sandy's royalties (and this for lyrics never heard in the show).
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