DrAnaconda wrote...
Captain Cornhole wrote...
DrAnaconda wrote...
I wouldn't worry too much. Mansell cut his teeth on techno and electronica. He can bring those elements in.
...I agree. I don't understand why everyone is worried that Mansell isn't going to utilize enough synths. My worry is that he will fail to properly implement the orchestral sound. Most of his scores are overly minimalistic and repetetive, except for Sahara of course, which may have more to do with orchestrator Nicholas Dodd's influence anyway...
You do relize the same can be more easily said for Jack Wall. Honestly, IMO Jack Wall is the master of repeditive.
That argument could be made, but I would disagree with it. I think Jack Wall's music, particularly for Mass Effect 2, is significantly deeper and more complex than most of Mansell's music. There is a fair amount of repetition, which is something of a consequence of the format. But I thought that, considering the format, Wall kept the music consistently interesting, particularly during the more cinematic sequences.
I agree with you that Jack does particularly well with the cinematics, his music often sets the tone of gameplay following any cinematic. And all though I understand there are time constraints when writing music to a video game (for instence Hans Zimmer's score for Modern Warfare was below adverage). That said for a lot of Mr. Wall's tracks there isn't much content there along with some the repeditive patterns. For instence Mr. Wall sticks to held synth cords the move up or down in relitive harmonics to the general counter mellody that is useually running pattern 8th, 16th and quarter notes.
That's just my opinion, though to be honest I haven't listened to much of Clint's work. So in the comparison of the two I wouldn't know. But what I can say though, is as far as soundtracks go Jack Wall is one of the most repeditive people out there, and don't get me wrong here. Repitition isn't always a bad thing.
In classical music and movies scores in the 30's and 50's the standard was that it was frowned apon to have anysort of melody. And generally you have to repeate certain measures to get a melody. That is why you find running 16th notes for orchestral compositions for lots of movies coming from that era.