AudioMedia - November 2008 - (Page 48)

THE MUS AUDIO MEDIAI C New Improved Digital Edition! The industry’s leading professional audio technology magazine now has an even more user friendly digital edition that can be delivered direct to your desktop, no matter where you are! Register on-line today and get the same great content as the here can be few movie franchises where adding their own, more modern, take. David Arnold print edition well known as that which has scored the last the music is as plus bonus rich media and direct weblinks! four Bond Movies, starting with accompanies the deadly cinematic exploits Tomorrow Never Dies, and the producers obviously To see a sample of this unique Flash-based format visit of Ian Flemming’s international man of mystery, think he is doing a pretty good job as he’s also in www.audiomedia.com STEPHEN BENNETT cues into the man behind the dramatic orchestral score of the last four Bond movies, and finds out how he’s managed to remain true to the premise of the original Bond, while also adding a fresh perspective for the latest. have a lot to say about the way the well known theme is re-imagined for each movie – but Foster takes this weight of responsibility pragmatically. “Interestingly, we’ve done the theme several times now – including a version for David’s album – and it’s both really easy to do and really hard to do!” he laughs. “It is what it is, and we all know what it should sound like – so it’s pretty easy to hear when it sounds wrong.” All of the recent Bond lms reference the original Norman theme and the John Barry music, but Foster says that the producers are very open to new ideas. “They often say ‘just do what you think is right’, and leave us to get on with it. Obviously, you never know whether you will get the next movie – they might decide to use someone else – but it’s one of the few lm environments where the production company seems to be on your side rather than leaving you feeling that they’ve spent all the money on the special e ects and are trying to squeeze the budget. With the Bond movies it’s more a case of ‘how much do you need to do the job perfectly?’ And we get what we need.” OF BOND T James Bond. From the iconic Monty Norman theme Subscriptions the print issue remain una to John Barry’s evocative score,to themusic has been an extremely important ingredient in the continuing success of the films. The franchise’s ability to roll with the punches dealt by changing stars and public tastes has been ably assisted by the producers’ skill in choosing composers who have managed to remain true to the musical spirit of the early films while charge of the music for the latest in the series – titled Quantum of Solace. Of course, the composer is only one aspect of the production of a film score – though admittedly an important one – but even superbly written music wont cut the grade unless it is backed up by a superlative recording team. For Quantum of Solace, Arnold called on the services of London’s Air Lyndhurst studios and Engineer Geoff Foster. “Most of my formative years have been under the Air wing,” says Foster as he takes a break between sessions to talk about the latest Bond. “So I’ve managed to work with pretty much anybody who is anybody – and my rst gig was with George Martin.” This experience has obviously paid o , as Foster is now one of the UK’s leading recording engineers, with lms such as The Quiet American, Pirates Of The Caribbean 3: At World’s End and The Da Vinci Code under his belt – as well as the latest series of Bond movies. “This is the The industry’s leading professional audio technology fth lm I’ve done with magazine now has an even more user friendly digital David Arnold,” says Foster. “The Bond people are edition that can be delivered direct to your desktop, very loyal and I think no matter where you are! that’s why the franchise has worked as well as it Register on-line today and get the same great content as the has. Everyone involved print edition plus bonus rich media and direct weblinks! is willing to go the extra To see a sample of this unique Flash-based format visit mile – they just trust you to do the right thing.” www.audiomedia.com As is usual with greatly Subscriptions to the print issue remain una ected. loved art, the fans usually ected.curiously the AUDIO MEDIA New Improved Digital Edition! Team Players But, of course, creating a movie score is the epitome of teamwork, and Foster cannot praise his Bond colleagues enough. “I always ask for Chris Barratt as Second Engineer“, enthuses Foster, “He’s worked for me on the last three Bond movies and > Studio  at Air Studios, London. 48 AUDIO MEDIA NOVEMBER 2008 http://www.audiomedia.com http://www.audiomedia.com

Table of Contents Feed for the Digital Edition of AudioMedia - November 2008

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

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