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The Music of Jedi: Survivor
Last night I went to the Grammy Museum for an event celebrating the Jedi: Survivor score! Sometimes living in Los Angeles has its benefits. It was an evening with composers Stephen Barton and Gordy Haab, as well as their recording engineer Alan Meyerson, moderated by Jon Burlingame. I took copious notes throughout so I could share them with you all :) All quotes are paraphrases, I’m not that quick a note taker.
My husband and I settled into our seats, me vibrating with excitement as the lights dimmd. I was already hyped to hear the composers talk about my favorite game and their process for scoring it, but then my jaw fell out of my head because who strolled up on stage but fucking Cal Kestis himself, Cameron Monaghan, unexpected and uncredited on the event description.
I almost rolled out of my chair. Then I frantically started smacking my husband (who’s never played the game, but loves music and production) and hissing “it’s him it’s him it’s the Jedi!!!”
Cameron’s intro was brief but lovely. He introduced himself, then paused and said something like, “Do you hear that? That’s the sound of silence. That is awful. I can hear my own thoughts! No one wants to play a game like that. Which is why we have these guys!” He introduced the composers, Stephen and Gordy, as well as the sound engineer Alan and the moderator for the event, shook their hands and exchanged some hugs, then sat down in the audience. Giddily I returned to my notes as Jon led the discussion.
Q: How did you get into scoring video games?
Stephen was a gamer and had always been interested in working with video games. They were “enticing” and the schedule was much more appealing than for TV, where you might be handed a script and told to get the music back in a few days.
Gordy hadn’t worked particularly in games before.
Alan has been mixing and engineering video game soundtracks for the past 25 years, like Gears of War.
Q: What’s the difference between scoring a film and scoring a video game?
For film, it’s adding music onto what already exists; often the composer isn’t involved until the last 6 weeks or so of production. (Fun fact I learned earlier this year, Ludwig Goransson was involved from the start on Oppenheimer because Christopher Nolan specifically wanted to subvert that.)
The film is fairly static by the time the composers get their hands on it, so things are unlikely to change.
Video games are more like trying to put clothes on someone running a race, because drastic changes can happen at any time. The timeline is also greatly extended — 2-3 years is common — so things may evolve and shift drastically in that time.
Film is also much less volume of music… they wrote an entire 8 hours!
Q: Is there a Star Wars music “house” style?
Initially Star Wars projects outside of the original trilogy were often scored as if they were B sides to the original soundtrack. But the aesthetic is evolving. There are a few standards though — there must always be that symphonic scale.
The score was performed at Abbey Road. Alan mentioned that he was actually there on 9/11 working on a movie about a terrorist attack. Stephen loves recording at Abbey Road so much he and his wife named his daughter Abbey. All three of them agreed that Abbey Road is magical and the orchestra practically blends itself; for choral performances, all you have to do is stick a couple microphones in there and they sound fantastic.
They played a clip of “Dark Times,” with gameplay footage intercut with the symphony performing at Abbey Road. They explained that they wanted to develop a new theme for the Empire. At this time, the Empire just is. You can’t use the Imperial March, because the Imperial March is how the Empire perceives itself. But how does Cal see the Empire? It’s dark and ominous. It’s everywhere. It’s a fact of life.
Gordy explained that they literally shaped the melody like the sinus rhythm of a heartbeat to indicate that Cal’s on the run, his heart always pounding, never safe. They used a full 12 tone chromatic scale to keep the track always uncomfortable and unsettled.
Stephen is such a Merrical shipper! He talked about how one of the central conflicts of Survivor is Cal struggling with his feelings towards Merrin, and what do you do when you’ve utterly lost the fight? He pointed out what the Senator tells Cal, and calls him a pretty reasonable guy. Do you stop fighting when you’ve clearly lost? “Maybe Cal should go shack up with Merrin somewhere and have a nice life.”
Q: What is it like having so much funding for the score on a game like this?
All you can really sell now is quality, and people expect it now.
Q: What is the process like?
They are brought into the game in the script phase, where they may see some concept art and get to read the script to help determine the story beats.
The collaboration is joyful! It seems like it could be really scary, to have game play testers, the game designers, and other music folks all weighing in on how the score is working or not working, but they actually really enjoyed it. They’ll usually do about half the music, then have people test play it for a few months, come back with notes, and then work on the remainder after seeing what worked and what didn’t.
They played “Flight” in its entirety with gameplay of Cal and Merrin outrunning the Trident, and talked extensively about our girl Merrin! Stephen talked about how in JFO, Merrin was important but not as big of a player. Now in Jedi: Survivor, Merrin is vital,and we can see her story arc take shape. Her small motif in JFO was expanded into an epic, heroic scale after we see her power with portals and moving on the wind. They reached for all kinds of wind instruments, from Alpine horns, Tibetan horns, and even the “most tasteful vuvuzela ever.”
Note: it’s almost as heart-pounding to watch that sequence on the big screen as it is to play it!
They both said that some music flows onto the page and is easy to write; the escape from Jedha sequence was not one of those! It wasn’t easy to write, mix or play! A hundred people worked on this song, and it was hard as hell. The orchestra musicians kept coming up to Alan and telling him they loved playing it because it was such a challenge.
They don’t always tell the studio who wrote what. They work well together as they both love bourbon and coffee! Stephen says he’s great at about ¾ of the tune but not the ending, whereas Gordy can fix that up in a jiffy. They also sometimes divvied things up by planet or emotional beats.
Q: I noticed in this last song (“Flight”) there was a choral element. How do you decide when to incorporate choir instead of synth choir?
Choir is often the first casualty of budget cuts since it’s so many people involved. Sometimes, synth choir is chosen for just a vibe or an extra layer.
However, there’s a rule that in musicals when the emotion is building to a point that words can no longer contain them, that’s when a character must burst into song. For a score, when the emotion is swelling and can no longer be contained by mere instruments, that is when to pull out the choir. So we see it in “Flight.”
Me: We also see it in “Rage,” muahahaha.
They used 120 singers for Flight and only needed 3 microphones because of how good Abbey Road sounds.
They prefer amateur choirs to session professionals since you can sometimes have too-professional singers trying to out-sing each other, and amateurs are usually more relaxed.
Q: There were a number of unusual or even invented instruments used for this score, tell us about them.
Gordy made bottle chimes. He accidentally dropped a bottle of water while playing tennis and a ball pinged off it, making a lovely sound. He ordered 20 metal water bottles and strung them in a wardrobe rack with different amounts of water in them. Because it took ages to make, they used it in loads of places in the score.
Stephen went nuts and ordered 200 containers of BlueTack for the pianos for Koboh. They wanted Koboh to sound like the old West, but not that spaghetti Western honkytonk piano sound. If you make BlueTack into a sausage shape and roll it around a piano string you can make it make these strange broken sounds sort of like a gamelan. This is called a prepared piano. The low bumbumbum noises when first getting on Koboh and meeting the pit droid? Freaking piano. I would have never guessed! They did this to 3 pianos.
They played a clip of Where the Nekkos Roam. They used the prepared pianos, an orchestra, dulcimers, Basset horns, euphoniums, tubas. They wanted Koboh to feel lived in and to have history expressed in the music. The musicians were excited to have to rent out Basset horns since like nobody actually owns one.
Q: Tell us about the cantina music.
The original cantina brief from George Lucas to John Williams was apparently, “what if aliens came down in 1000 years and found sheet music from Benny Goodman, but didn’t have the same instruments?” And thus we got the Mos Eisley cantina theme which is almost unbeatable.
They were thinking of scoring the cantina music themselves, but then thought, “what if we gave that brief to a bunch of really cool bands?”
They highly recommended Dan Mayo from Tantran. They recommended taking a few hours to watch him kick ass on the drums on YouTube.
Tantran recorded "Fields of Dusk" for the cantina first, then Stig came back and said “what if we wove this into the score? What if it was Cal and Merrin’s love theme?” Then they created a symphonic version, also partially inspired by a Joni Mitchell song.
They played part of the cantina version of “Fields of Dusk,” then they played the symphonic version with Cal and Merrin riding the spamel to Cere’s base. They gushed about being able to work with the story and the subtext.
Alan said that "Fields of Dusk” “is visceral. It vibrates shit inside of you. Mixing it was a highly emotional experience for me. Even now sitting under the subwoofer — it’s right here, over my head — it’s very emotional.”
Q: How many motifs do you have?
“Seven thousand.” - Stephen
Gordy later amended that to about two dozen, but with tons of variations.
Q: What are the interactions like with the game developers?
They get to be in the building with them, working on the narrative team — making sure to serve the story first. It also lets them practice gameplay or watch others playing to see how it flows.
Again, it’s a 2-3 year process.
They played the clip of Cal and Merrin making a campfire in the cave on Jedha. Stephen is all about the Merrical ship (not that he used those words, alas, but still)! He said this was such gorgeous writing, really allowing the technology to showcase the acting, and it’s his all time favorite scene in the game.
The whole theater clapped as he said that. Yes! A whole theater clapping while someone was talking about Merrical and calling it gorgeous. *sobbing forever*
Q: What has it been like to meet fans?
They’ve been delighted by the fans and how much they love the characters and the amazing performances of all the actors in the game.
Q: Are there plans for a sequel?
Stephen: “Are there Lucasfilm snipers out there? Look for the red dot…”
Gordy: “There’s not NOT plans.”
Fan questions!
Alan mentioned he loves doing the hardest piece first! Then it’s all skiing downhill.
A fan asked about more weird created instruments.
They also used a bunch of bamboo smacking other pieces of bamboo, as well as using little drums from other purposes or sets.
Was there anything they messed up or wanted to do differently than they did in JFO?
They accidentally didn’t loop music in the hangar on Zeffo, so if you stick around there for more than 3 minutes, it just becomes wind sound and gets very lonely. A live streamer was playing the game, talked to his audience for like 10 minutes, then wandered around almost in silence as his fans commented “why is this game so quiet?”
Gordy wanted to make JFO sound much darker and got his wish in Survivor.
I had so been hoping they would talk about “Rage” and the struggle with the dark side, but they were sort of avoiding spoilers. So when they got to the Q&A I had to speak up.
I asked, “What was it like working with darker themes later in the game, like with Rage? You see a real shift in the motifs and there’s also more amazing choral work.” Their faces seriously lit up XD
Stephen said this was one he handed to Gordy because it was very difficult.
Gordy said that this is Cal at his worst, so it had to be so over the top. Think of consonant sounds crashing through the melody, Cal trying to keep control of his thoughts but they’re twisting away, he’s trying to think straight and can’t. It’s discordant. It’s also scored to evoke a heartbeat throughout, like breathing.
It was so hard for the choir to do, going back and forth — you can’t do that with choral samples or synth!
They ended with a video they played from their Hollywood Bowl show in June, and said we were only the second group of people to see it. They played a clip where they do use the classic Imperial March, but contoured so you only get the silhouette of its shape, instead of the full sound. It ended with a clip of the Tantran band playing a wicked awesome set out in the desert. The last image they showed was a list of the 287 people who worked on the score!
We let out and I did get to meet them! Stephen was lovely and I told him it was just such a beautiful, haunting score. I actually had a sketch of the campfire scene with me and he signed it! His daughter Abbey is an artist too and she was really impressed by my sketchbook (she looked to be about 11). Gordy also got to see a bit of my sketchbook and signed Cal in Nova Garon! What an awesome night! We didn’t see Cameron again but I was so astounded to see him the first time I didn’t mind at all.
SO COOL! Sometimes, kids, living in Los Angeles isn’t so bad!!
#jedi: survivor#cameron monaghan#cal kestis#gordy haab#stephen barton#alan meyerson#grammy museum#jedi survivor#jedi survivor spoilers#jedi: survivor spoilers#my jedi posts
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From Hans Zimmer on YouTube: Dragon Age: The Veilguard Main Theme [From "Dragon Age: The Veilguard (Original Soundtrack)"]
"Dragon Age: The Veilguard Main Theme [From "Dragon Age: The Veilguard (Original Soundtrack)"] · Hans Zimmer · Lorne Balfe Dragon Age: The Veilguard Main Theme (From "Dragon Age: The Veilguard (Original Soundtrack)") ℗ 2024 Electronic Arts Music Released on: 2024-10-01 Producer: Lorne Balfe Producer: Hans Zimmer Producer: Steve Schnur Mixer: Alan Meyerson Mastering Engineer: Patricia Sullivan"
[source, via] | [Spotify link]
The art:
Text in image reads "Dragon Age: The Veilguard Original Soundtrack. Music by Hans Zimmer & Lorne Balfe".
#dragon age: the veilguard#dragon age: dreadwolf#dragon age 4#the dread wolf rises#da4#dragon age#bioware#video games#long post#longpost
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Which one on pbskidsfilms5.tumblr.com
#my polls#polls#tumblr polls#music#poll time#pbs#pbs kids#film music#conductor#please vote#new music#music blog#tournament poll#musician#my post#shares#interesting#tumblr#voting#choose one#you choose#preparation#people#imdb.com#cinema
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Wednesday 6th December from 7.30pm - 9.00pm at the Grammy Museum in downtown Los Angeles will bring us this Star Wars Jedi: Survivor panel featuring Grammy-Nominated Composers Gordy Haab and Stephen Barton along with Engineer/Producer/Score Mixer Alan Meyerson, allowing us a look into the creation of this essential Star Wars soundtrack. Tickets are $25.00. The GRAMMY Museum is thrilled to host an evening celebrating the music behind STAR WARS JEDI: SURVIVOR. The event will feature a special panel discussion featuring composers Gordy Haab and Stephen Barton, plus Engineer/Score Mixer/Producer Alan Meyerson. The panel will be moderated by Jon Burlingame. Tickets available now at: https://www.universe.com/events/the-music-behind-star-wars-jedi-survivor-tickets-Z02GJ5 WHERE: The GRAMMY Museum in Downtown Los Angeles 800 W. Olympic Blvd. LA, CA 90015 WHEN: Wednesday, December 6, 2023 TIME: 7:30 PM PST [amazon box="B0C36DC6LH"]
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Morton H. Meyerson Senfoni Merkezi -Akustik Ferah
1989 yılının Eylül ayında kapılarını açan Ieoh Ming Pei (I. M. Pei) imzalı Morton H. Meyerson Senfoni Merkezi 45 bin m² (484.375 ft²) brüt alan üzerinde 30 metre (100 ft) yüksekliğindedir. Kabaca 2 bölüme ayrılan yapı, 2.200 kişilik devasa bir gösteri salonuna sahiptir. Salonu ise meydan görevi gören, kaba kütlede oluşturulan boşluklar sayesinde ziyaretçileri üzerinde ışık ve perspektif oyunları oynayan açık ve kapalı alanlar çevrelemektedir. Gelin bu tasarım harikası senfoni merkezini hep beraber inceleyelim...
Morton H. Meyerson / Dök Mimarlık
Morton H. Meyerson Senfoni Merkezi Tarihi
Morton H. Meyerson Senfoni Merkezi, modern mimarlık alanında önemli bir yere sahip olan I. M. Pei tarafından tasarlanmış eşsiz bir yapıttır. Bu görkemli merkez, sadece bir konser mekanı olmanın ötesinde, aynı zamanda bir sanat eseri olarak da kabul edilmektedir. Meyerson Senfoni Merkezi'nin tarihi, sadece inşa edildiği döneme değil, aynı zamanda tasarım sürecine de ışık tutmaktadır. Mimar I. M. Pei, Meyerson Senfoni Merkezi'nin tasarımına adım attığında, kariyerinin zirvesinde olmasına rağmen hala yaratıcı enerjisiyle dolu bir şekilde çalışmaktaydı. Pei, daha önce Louvre Müzesi gibi uluslararası alanda dikkat çeken projelere imza atmış bir isimdi ve aynı dönemde farklı önemli projeler üzerinde çalışıyordu. Bu dönemde, Dallas şehrinin idarecileri, şehirlerinin sanatsal ve kültürel potansiyelini yansıtan çağdaş bir simge inşa etmeye karar verdiler. Bu amaçla, Avrupa'nın en ünlü konser salonlarıyla rekabet edebilecek nitelikte bir mekan tasarlamak üzere bir komite oluşturuldu. Komite, dünya genelinden 45 farklı ünlü mimarla iletişime geçti ve projeyi göz önünde bulundurarak yaratıcı fikirlerini bekledi. I. M. Pei, bu seçkin grup içinde yer alsa da başlangıçta cevap vermekten çekindi. Onun bu tereddütünün arkasında, daha önce Dallas'ta tasarladığı belediye binasının projede olumsuz bir izlenim bırakmış olabileceği endişesi yatıyordu. Ancak komiteden bir üye, Pei'yi ikna etmek adına birebir iletişime geçti. Bu etkileşim sonucunda, Pei projeyi değerlendirmeyi kabul etti. Mimari dehası Pei, daha önce bir konser salonu tasarlamış olmasa da, Meyerson Senfoni Merkezi'nin mimari öğelerini şekillendiren bir vizyonla komitenin karşısına çıktı. Komite üyeleri, Pei'nin önerdiği modern ve işlevsel tasarımı, geleneksel konser salonlarının ötesine geçen bir yaklaşımla etkileyici buldular. Bu nedenle, Pei'nin projenin başmimarı olması yönünde oybirliğiyle karar verdiler. Senfoni merkezinin tarihi, böylece I. M. Pei'nin kusursuz vizyonu ve komitenin cesur kararlılığının birleşimiyle yazılmış oldu. Meyerson Senfoni Merkezi, sadece akustik açıdan değil, aynı zamanda mimari açıdan da çığır açan bir yapı olarak bugün hala varlığını sürdürmektedir. Işıkla dans eden cam yüzeyleri, modern hatları ve işlevselliği ile bu yapı, sadece bir konser salonu değil, aynı zamanda insanlığın yaratıcılığının ve sanatsal arzularının bir yansıması olarak da öne çıkmaktadır. "We were convinced that we would get the world's greatest architect putting his best foot forward" "Dünyanın en büyük mimarının elinden gelenin en iyisini yapmasını sağlayacağımıza kanaat getirmiştik." -Komite üyeleri
Morton H. Meyerson Senfoni Merkezi, adını sadece bir isimden değil, aynı zamanda zengin bir hikayeden almaktadır. Bu isim kaynağı ve yapının kullanım hedefi, merkezin ne kadar derin ve anlamlı bir yapı olduğunu göstermektedir. Adını alan Morton Meyerson, eğitim hayatını ekonomi ve felsefe alanlarında şekillendirerek geniş bir vizyonla donanmış bir birey olarak öne çıkmaktadır. Aynı zamanda, Dell'in kurucusu Michael Dell'in öğretmeni ve akıl hocası olarak da bilinir. Bu öğretmen-öğrenci ilişkisi, teknoloji dünyasının dahi isimlerinden birini yetiştirmesinin yanı sıra, Meyerson'un etkileyici bilgi birikimini ve liderlik özelliklerini ortaya koymaktadır. Senfoni Merkezi'nin adını Meyerson'dan almasının özel bir sebebi vardır. Yapının inşa sürecinde ortaya çıkan maddi gereksinimler, bir bağışla karşılanmış ve bu bağışın ardında Morton Meyerson'un ismi yatmaktadır. 1986 yılında, inşa süreci devam ederken, işadamı H. Ross Perot, merkeze 10 Milyon Dolarlık büyük bir yatırım yapmayı teklif etmiştir. Karşılığında ise merkezin isminin Morton Meyerson'a atanmasını istemiştir. Bu anlamlı jest, Meyerson'un sadece bir isim değil, aynı zamanda bir vizyon ve değerler bütünü olduğunu gösterir.
Sol: Morton Meyerson / Dök Mimarlık / Sağ: H. Ross Perot Senfoni Merkezi'nin tamamlanmasıyla birlikte, bu büyülü yapı artık Morton Meyerson'un adını taşımaktaydı ve Dallas Senfoni Orkestras�� için kalıcı bir ev olmuştu. Dallas Şehri'nin sahip olduğu bu değerli eser, aynı zamanda Dallas Senfoni Birliği tarafından yönetilmektedir. Bu birliğin etkisiyle merkez, sadece bir konser salonu olmanın ötesine geçerek, şehirdeki kültürel ve sanatsal etkinliklerin merkezi haline gelmiştir. Bu eşsiz yapı, adını aldığı Morton Meyerson'un vizyonunu, bağışçılığını ve sanata olan tutkusunu yansıtmaktadır. Onun adı, sadece bir isim değil, aynı zamanda bir miras ve ilham kaynağıdır.
Morton H. Meyerson Senfoni Merkezi: Estetik ve İşlevin Mükemmel Buluşması
Morton H. Meyerson Senfoni Merkezi'nin mimarisi, bir mühendislik harikası ve sanatsal yaratıcılığın eşsiz bir birleşimini temsil eder. Bu yapı, mimari tasarımına başlandığı andan itibaren ortaya çıkan vizyon ve gereksinimlerin bir ürünü olarak günümüze kadar gelen etkileyici bir mirası temsil etmektedir. 1982 yılında başlayan mimari tasarım süreci, şehrin yöneticilerinin özel istekleriyle şekillenmeye başlamıştır. Başlangıçtan itibaren, merkezin Avrupa'nın en prestijli salonlarına meydan okuyacak bir kalitede olması hedeflenmiştir. Özellikle canlı müziğin duygusal derinliklerini dinleyicilere aktarabilme yeteneğinin merkezin temel odak noktası olduğu görülmektedir. Bu amaca yönelik olarak, akustik tasarım en üst düzeyde önceliklenmiştir. Profesyonel akustik uzmanları ve ses teknikerleri, salonun "Ayakkabı Kutusu Stili" olarak adlandırılan bir tasarıma sahip olmasını önermiştir. Bu tarz, Amsterdam'daki Concertgebouw ve Viyana'daki Musikverein salonlarında da başarılı bir şekilde uygulanmıştır. Bu öneri, merkezin dinleyicilere unutulmaz bir akustik deneyim sunmasının temelini atmıştır. Mimar I. M. Pei, bu önerilen tasarımı kendi benzersiz yaratıcılığıyla birleştirerek merkezi şekillendirmiştir. Bu süreçte, ünlü Alman mimar Johann Balthasar Neumann'ın eserlerinden ve Paris Operası'nın zarif detaylarından ilham alarak tasarımlarını geliştirmiştir. Pei'nin bu tasarım sürecinde yaptığı düzenlemeler, yapının işlevselliği ile estetik güzellik arasında mükemmel bir denge kurmayı hedeflemiştir. Merkezin genel tasarımında, ızgara sokak örgüsüne uyumlu bir yerleşim tercih edilmiştir. Yapının yerleşimi, şehrin dokusuna uygun bir şekilde planlanarak doğru bir denge sağlamıştır. Yönetim, idare ve teknik alanlar kuzeye doğru yerleştirilirken, ana giriş ve açık mekanlar güney ve batı yönlerine konumlandırılmıştır. Bu tasarım yaklaşımı, yapının şehrin siluetine yönlendirilmesini sağlamış ve dış dünyayla iç içe bir etkileşim yaratmıştır.
Morton H. Meyerson Senfoni Merkezi: Mimarlıkta Eşsiz Etkileşimlerin Dansı Morton H. Meyerson Senfoni Merkezi, özgün ve etkileyici tasarımıyla üst üste yerleşmiş geometrik biçimler arasında kusursuz bir etkileşimi yansıtmaktadır. Bu etkileşimler, mimaride hayat bulmuş ve merkezi sadece bir yapının ötesinde bir sanat eserine dönüştürmüştür. Merkezin ana salonunun, arzulanan akustik etkiye sahip olması, tasarımın merkezinde yer alıyor. "Ayakkabı Kutusu Stili" salon planı, dikdörtgen bir alanda uygulanarak, akustik mükemmelliği hedefliyor. Dikdörtgen yapı, taşıyıcı sistemleri içine alarak dengeli bir kompozisyon oluşturuyor. Bu temel tasarımın etrafında, katlar arası açık planlar ve cam elemanlarla zenginleştirilen bir lobi bulunuyor. Hem karşılayıcı hem de toparlayıcı işlevi olan bu lobi, şeffaf tasarımıyla iç ve dış mekanların etkileşimini en üst düzeye çıkarıyor. Dışarıya açılan bu lobi, aynı zamanda açık havada bir restoran ve bahçelerle buluşarak doğayla bütünleşiyor. Merkezin en dikkat çeken bölümlerinden biri olan gösteri salonu, 2200 kişilik kapasitesi, çok katl�� yapısı ve katlar arasında ayrılan alanlarıyla benzersiz bir etkileşim sunuyor. Büyük Konser Orgu, gösteri alanının arkasında konumlandırılarak, bu etkileşimleri zenginleştiriyor. Akustik performansı en üst düzeye çıkarmak amacıyla, gösteri alanı ile org arasına 56 mekanik akustik örtü yerleştirilmiştir. Her gösteri için farklı akustik ihtiyaçlarının olması nedeniyle bu perdelerin mekanik olarak kontrol edilebilmesi önemlidir. Bu karmaşık sistem, mükemmel akustik deneyimi sağlayabilmek için tasarlanmıştır. Taşıyıcı elemanlar, katlar arasındaki döşemeler ve kullanılan malzemeler, akustik performansı olumsuz etkilemeyecek şekilde tasarlanmıştır. Yansıtıcı ve sönümleyici elemanlar, salonda bulunan herkesin her türlü enstrümanın tınısını en net şekilde duyabilmesi için özenle yerleştirilmiştir. Mekanın her köşesi, sesin kaybolmadan iletilmesi ve enstrümanların doğal güzelliklerinin korunması amacıyla düşünülmüştür. Morton H. Meyerson Senfoni Merkezi'nin mimarisi, işlevselliğin estetikle, teknolojinin sanatla mükemmel bir dansını yansıtmaktadır. Her bir detay, ziyaretçilere unutulmaz bir akustik deneyimi sunma hedefiyle özenle düşünülmüştür.
Morton H. Meyerson Senfoni Merkezi İstatistikleri Morton H. Meyerson Senfoni Merkezi içinde toplam: - 24,000 m2 (260,000 ft²) kot üstü alan - 20,900 m2 (225,000 ft²) kot altı alan - 26,860 m3 (35,130 yd³) beton - 2,800 m2 (30,000 ft²) İtalyan sıvası - 22,000 parça Indiana kireçtaşı - 4,535 borulu, borulu organ (Pipe Organ) - 2,200 seyirci kapasitesi - 918 panel Afrika Kirazı - 216 panel Amerika Kirazı - 211 cam panel (her biri eşsiz olarak üretilmiş) - 26 m (85 ft) gösteri alanı tavan yüksekliği - 56 akustik perde - 50 lavabo alanı - 4 özel süit alan yer almaktadır.
Kazandığı Ödüller
- The City of Dallas- Dallas Kent Tasarım Ödülü (1990) - Associated Builders+Contractors of Texas (1990) - American Institute of Architects - Ulusal Onur Ödülü (1991) Linkler Yapıyı 360 Derece İncelemek İçin Yapının Akustik Elemanlarının Nasıl Hareket Ettiklerini Görmek İçin
Morton H. Meyerson Senfoni Merkezi Hakkında Düşüncelerim
Dallas Senfoni Orkestrasının takdire şayan performanslarının gerçek etkisini dinleyenlere aktarabilmek üzere çıkılan bu tasarım yoluculuğuna 1982 yılında başlanmış, yapının inşaatına Ekim 1985 de başlanabilmiştir. Tamamlanması 4 yıla yakın süren yapı istenen etkinin yaratılması için özel olarak tasarlanıp uygulanmış akustik elemanlara ve bu elemanları işleve kavuşturacak mimari tasarımlar birleşerek dinleyene en kayıpsız ve en gerçek sesin iletilebilmesi planlanmıştır. Şeffaf ve toparlayıcı iç ve dış mekanları ve lobisi ile de şehre içerisinde yaşam olan ferah bir alan bahşedilmiştir. Yapıda yaratılan şeffaflık, perspektif ve mimari yerleşmeler sonucu ortaya çıkan aydınlık ve gölge alanlar ile ulaşılabilir ve gerçekçi bir tasarım ortaya çıktığını düşünüyorum. Fakat yapının özelliklerinin sabit resimler üzerinden aktarımının çok eksik kalacağını belirtmem gerekir. Mümkünse yapıyı ziyaret edip deneyim etmek, eğer mümkün değilse de üst kısımda ilettiğim linkten yapının içerisinde 360 derece olarak gezmenizi kesinlikle tavsiye ederim. Ayrıca aynı link üzerinden yapının akustik elemanlarının akustik gereksinimlere göre nasıl hareket edebildiğini de görebilirsiniz. Morton H. Meyerson Senfoni Merkezi hakkında siz neler düşünüyorsunuz? Sizce salon dışı alanlar gerçekten şeffaf mı? Yapı bugün yapılmış olsa salonun akustik gereksinimlerini çözmek için hangi yollara başvurabilirdik? Fikirlerinizi bizimle paylaşmayı unutmayın. Eğer hala göz atmadıysanız Dancing House incelememizi de buraya tıklayarak okuyabilirsiniz... Read the full article
#1982#1989#açıkplan#akustik#amerika#Amsterdam#beton#çelik#CharlesGarnier#Concertgebouw#Dallas#DancingHouse#ferah#genişcampaneller#gösterisalonu#I.M.Pei#JohannBalthasarNeumann#MichealDell#MortonMeyersonSenfoniMerkezi#Musikverein#Müzik#RossPerot#şeffaf#Senfoni#ShoeboxStyle#Texas#Viyana
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Moonhearts in Space by Tina Guo featuring Serj Tankian - Video directed by Viktorija Pashuta
#music#tina guo#serj tankian#video#music video#viktorija pashuta#thierry brouard#oye decova#henry lipatov#steve mazzaro#hans zimmer#alan meyerson#ivan druzhinin
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Cinema Audio Society Awards 2019
Cinema Audio Society Awards 2019
Vamos a por una nueva alfombra roja. Esta semana, es LA SEMANA. Por fin el domingo se celebran los Oscar. De momento vamos con estos premios menores, pero no por ello poco importantes. Se trata de los Cinema Audio Society Awards. En su edición número 55 confirmamos cosas que ya sabemos, pero eso os lo cuento ahora. Se celebró en el InterContinental Los Angeles Downtonde Los Ángeles. Y como…
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#ai-ling lee#alan meyerson#andy king#anne colomby#annmarie riordan#arno stephaninan#beverly todd#brian riordan#cara moore#chris giles#cindy bauman#cren frayer#deborah wallach#diary#dina morrone#edit hartoonians#edward l moskowitz#felipe borrero#geoff hicks#gordon moore#inspiración#j&039;anne hicks#jacqueline moskowitz#jessica fulton#john bauman#kamile fargher#karol urban#keri maletto#kirsten vangsness#krystin goodwin
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The list is all about books and reading. Some are about or set in bookstores, others are perhaps about literary societies or book clubs, many are about libraries, and some are just about people who really love reading — you get the point. Overflowing in fun literary references and cozy nooks to read, it’s a great list to dive into if you’re looking for something to indulge the book lover in you.
If you have any additional suggestions, feel free to drop a comment below. Happy reading, book lovers!
The Shadow of the Wind CARLOS RUIZ ZAFON
Mr. Penumbra's 24-Hour Bookshop ROBIN SLOAN
The Book Thief MARKUS ZUSAK
Reading Lolita in Tehran AZAR NAFISI
The Guernsey Literary and Potato Peel Pie Society MARY ANN SHAFFER
Fahrenheit 451 RAY BRADBURY
The Thirteenth Tale DIANE SETTERFIELD
84, Charing Cross Road HELENE HANFF
The Eyre Affair (Thursday Next #1) JASPER FFORDE
Lost in a Good Book (Thursday Next #2) JASPER FFORDE
The Club Dumas ARTURO PEREZ-REVERTE
People of the Book GERALDINE BROOKS
If on a Winter's Night a Traveler ITALO CALVINO
The Book of Lost Things JOHN CONNOLLY
The History of Love NICOLE KRAUSS
Writers & Lovers LILY KING
The Bookman's Tale CHARLIE LOVETT
First Impressions: A Novel of Old Books, Unexpected Love, and Jane Austen CHARLIE LOVETT
The Forgotten Garden KATE MORTON
Eight Perfect Murders (Malcolm Kershaw #1) PETER SWANSON
The Book of Lost Names KRISTIN HARMEL
Erotic Stories for Punjabi Widows BALLI KAUR JASWAL
The Weight of Ink RACHEL KADISH
The Book of Speculation ERIKA SWYLER
The Bookshop of Yesterdays AMY MEYERSON
The Library of Lost and Found PHAEDRA PATRICK
The Library of the Unwritten (Hell's Library #1) A.J. HACKWITH
The Library Book SUSAN ORLEAN
The Invisible Library (The Invisible Library #1) GENEVIEVE COGMAN
Matilda ROALD DAHL
Ink and Bone (The Great Library #1) RACHEL CAINE
Inkheart (Inkworld, #1) CORNELIA FUNKE
The Book Charmer (Dove Pond #1) KAREN HAWKINS
Summer Hours at the Robbers Library SUE HALPERN
Camino Island (Camino Island #1) JOHN GRISHAM
The Book Woman of Troublesome Creek KIM MICHELE RICHARDSON
The Giver of Stars JOJO MOYES
The End of Your Life Book Club WILL SCHWALBE
The Bookish Life of Nina Hill ABBI WAXMAN
How to Find Love in a Bookshop VERONICA HENRY
Beach Read EMILY HENRY
The Dictionary of Lost Words BY PIP WILLIAMS
The Librarian of Auschwitz ANTONIO ITURBE
The Possessed: Adventures with Russian Books and the People Who Read Them ELIF BATUMAN
Midnight at the Bright Ideas Bookstore MATTHEW SULLIVAN
The Bookseller CYNTHIA SWANSON
A Discovery of Witches (All Souls Trilogy #1) DEBORAH E. HARKNESS
The Little Paris Bookshop NINA GEORGE
The Lost for Words Bookshop STEPHANIE BUTLAND
The Storied Life of A.J. Fikry GABRIELLE ZEVIN
The Lions of Fifth Avenue FIONA DAVIS
The Children's Book A.S. BYATT
Possession A. S. BYATT
The Reader BERNHARD SCHLINK
The Strange Library MURAKAMI HARUKI
The Historian ELIZABETH KOSTOVA
The Left-Handed Booksellers of London GARTH NIX
Lost For Words STEPHANIE BUTLAND
Murder by the Book LAUREN ELLIOTT
Booked To Die (Cliff Janeway #1) JOHN DUNNING
Trouble on the Books (Castle Bookshop Mystery #1) ESSIE LANG
By Book or By Crook (Lighthouse Library Mystery #1) EVA GATES
The Case of the Missing Books (Mobile Library Mystery #1) IAN SANSOM
The Uncommon Reader ALAN BENNETT
The Violets of March SARAH JIO
Book Lust: Recommended Reading for Every Mood, Moment, and Reason NANCY PEARL
The Man Who Loved Books Too Much: The True Story of a Thief, a Detective, and a World of Literary Obsession ALLISON HOOVER BARTLETT
The Lost and Found Bookshop SUSAN WIGGS
The Eighth Detective ALEX PAVESI
The Fifth Avenue Story Society RACHEL HAUCK
The Hazel Wood (The Hazel Wood #1) MELISSA ALBERT
The Stranger Diaries (Harbinder Kaur #1) ELLY GRIFFITHS
The Ghostwriter ALESSANDRA TORRE
The Editor STEVEN ROWLEY
Suggested Reading DAVE CONNIS
The Last Bookshop in London MADELINE MARTIN
The Bookshop on the Corner (Scottish Bookshop #1) JENNY COLGAN
The Bookshop on the Shore (Scottish Bookshop #2) JENNY COLGAN
The Haunted Bookshop (Parnassus Series #2) CHRISTOPHER MORLEY
The Camel Bookmobile MASHA HAMILTON
The Bookshop Book JEN CAMPBELL
The Last Bookaneer MATTHEW PEARL
The Jane Austen Book Club KAREN JOY FOWLER
The Readers of Broken Wheel Recommend KATARINA BIVALD
The Bar Harbor Retirement Home for Famous Writers TERRI-LYNNE DEFINO
The Diary of a Bookseller SHAUN BYTHELL
The Jane Austen Society NATALIE JENNER
The Princess Bride WILLIAM GOLDMAN
The Library at the Edge of the World FELICITY HAYES-MCCOY
The Starless Sea ERIN MORGENSTERN
The Bookshop PENELOPE FITZGERALD
Confessions of a Bookseller SHAUN BYTHELL
The Night Bookmobile NIFFENEGGER
The Southern Book Club's Guide to Slaying Vampires GRADY HENDRIX
The Lending Library ALIZA FOGELSON
The Borrower REBECCA MAKKAI
Lost in a Good Book JASPER FFORDE
The Name of the Rose UMBERTO ECO
The Library of Babel JORGE LUIS BORGES
Bookworm: A Memoir of Childhood Reading LUCY MANGAN
Anna Karenina Fix: Life Lessons from Russian Literature VIV GROSKOP
Howard's End E. M. FORSTER
Don Quixote MIGUEL De CERVANTES SAAVEDRA
The Last Book Party KAREN DUKESS
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
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P⬤21 Score Dune Hans Zimmer The Green Knight Daniel Hart The Lost Daughter Dickon Hinchliffe Luca Dan Romer Minari Emile Mosseri No Time to Die Hans Zimmer The Power of the Dog Jonny Greenwood Supernova Keaton Henson Swan Song Jay Wadley Soundtrack The Harder They Fall Judas and the Black Messiah Luca Nomadland Shang-Chi and the Legend of the Ten Rings Swan Song Canción “Akh Lar Gayee (ft. Surinderjit Singh)” — Prem-Hardeep Prem-Hardeep, Surinderjit Singh The White Tiger “Dos Oruguitas” — Sebastián Yatra Lin-Manuel Miranda Encanto “Fight For You” — H.E.R. Gabriella Wilson, Tiara Thomas, Dernst Emile II Judas and the Black Messiah “The Harder They Fall” — Koffee Shawn Carter, Jeymes Samuel, Mikayla Simpson The Harder They Fall “Lead the Way” — Jhené Aiko Jhené Aiko, James Newton Howard Raya and the Last Dragon “No Time to Die” — Billie Eilish Billie Eilish, Finneas O’Connell No Time To Die “Rain Song” — Han Ye-ri Stephanie Hong, Emile Mosseri Minari “Run It (ft. Rick Ross & Rich Brian)” — DJ Snake William Sami Étienne Grigahcine, Brian Imanuel, Christian Dold, Rick Ross, SIM Shang-Chi and the Legend of the Ten Rings “Speak Now” — Leslie Odom Jr. Leslie Odom Jr., Sam Ashworth One Night in Miami... Mezcla de Sonido Dune Ron Bartlett, Doug Hemphill, Alan Meyerson, Thomas J. O'Connell , Mac Ruth, Don White Encanto David Boucher, Scott Curtis, David E. Fluhr, Gabriel Guy, Doc Kane, Paul McGrath, Alvin Wee In the Heights Vinny Alfano, Ryan Collison, Lewis Goldstein, Eric Gotthelf, Drew Kunin, John Marquis, Connor Nagy, Aaron Southerland, Jerrell Suelto, Tami Treadwell No Time to Die Mark Appleby, Al Clay, Simon Hayes, Stephen Lipson, Paul Massey, Adam Mendez, Mark Taylor Shang-Chi and the Legend of the Ten Rings Sona Balam, Onnalee Blank, Jason Butler, Peter J. Devlin, Richard Duarte, Lora Hirschberg, Doc Kane, Yung Q, Fred Runner West Side Story Doc Kane, Tod A. Maitland, Shawn Murphy, Andy Nelson, Frank Rinella, Gary Rydstrom Edición de Sonido Dune David Bach, Clint Bennett, Theo Green, Mark A. Mangini, Ryan Rubin, Dave Whitehead The Green Knight Christopher Barnett, Richard Gould, Chris Manning, Johnny Marshall, Greg J. Peterson, Mark Jan Wlodarkiewicz Luca Barney Jones, Justin Doyle, André Fenley, Pascal Garneau, Samuel Lehmer, Justin Pearson, Larry Oatfield, Christopher Scarabosio, Lodge Worster No Time to Die Hugo Adams, Christopher Benstead, Bryan Bowen, Michael Fentum, Dawn Gough, James Harrison, Eilam Hoffman, Michael Maroussas, Becki Ponting, Oliver Tarney A Quiet Place Part II Erik Aadahl, Nancy Allen, Ramiro Belgardt, Malte Bieler, Chris Diebold, Brandon Jones, Vanessa Lapato, Nancy Nugent, Jim Schultz, Del Spiva, Ethan Van der Ryn Raya and the Last Dragon Chris Frazier, David C. Hughes, Shannon Mills, Samson Neslund, Steve Orlando, Brad Semenoff, Jim Weidman
#Film#No Time to Die#Dune#Luca#Shang-Chi and the Legend of the Ten Rings#The Green Knight#Swan Song#Judas and the Black Messiah#Encanto#Raya and the Last Dragon#Minari#The Harder They Fall#Awards#Score#Soundtrack#Song#Sound#O21#MG#⬤
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occasionally i think abt how in the documentary abt merrily we roll along abby pogrebin (who played evelyn kringas) talks abt how alan alda was a family friend of hers and. like. ive connected the merrily 🤝 mash dots. i actually havent connected shit but this has to mean something
you can listen to a talk that the two of them did at the marlene meyerson JCC in 2019 here!!
#and there definitely is MASH/merrily crossover discussion tonne had irt to temporality and friendship and love#abigail pogrebin#alan alda#anon
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Laverne & Shirley
S1E12: Hi, Neighbor
Directed by Alan Meyerson Written by Michael McKean and David Lander and Harry Shearer
“That’s me, Laverne. The lone wolf.”
#laverne & shirley#laverne and shirley#hi neighbor#gif#gif warning#lenny kosnowski#andrew squiggman#the smooch
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(Living in the USA)
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The Lion King (Original Motion Picture Soundtrack) Credits and Streams
The Lion King (Original Motion Picture Soundtrack) Credits and Streams
The Lion King hits theatres on July 18, 2019, and the iconic Disney movie has delivered an updated soundtrack. Director Jon Favreau wanted the music to expand on what people love about the classic. Elton John was brought in to rework his previous contributions along with Hans Zimmer and Lebo M., the South African Composer/Producer who arranged and performed music for the previous film and stage…
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#Abner A. Mariri#Alan Meyerson#Aldo Arechar#Alfie Silas#Alfredo Pasquel#Andre Washington#Andrea Roberts#Baby Cele#Batho Mhlongo#beyonce#Bheki Ndlovu#Billy Eichner#Billy Eichner & Seth Rogen#Bob Joyce#Bobbi page#Bongani Ngcobo#Carmen Twillie#Chapman#Chiwetel Ejiofor#Chuck Choi#Clydene Jackson#Colin Leonard#Columbia Records#Cory Bice#Daniel Pampuri#David Fleming#Derek Dixie#Derrick Charles#Donald Glover#Donald Paige
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Immerse Virtual Studio | Alan Meyerson, Immerse Virtual Studio | Alan Electronic Music Culture https://www.pluginboutique.com/product/3-Studio-Tools/95-Referencing-Tools/9092-Immerse-Virtual-Studio-Alan-Meyerson?utm_campaign=925593_(L)%20PB%20-%20Friday%20NL%20-%2010/06/2022&utm_medium=email&utm_source=Newsletter&dm_i=6D39,JU6X,ZZXXZ,2FG7Q,1
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Miss this? Not a problem 👉🏼it's ON DEMAND: Harold Meyerson & PDA's Executive Director Alan Minsky on The Jeff Santos Show https://soundcloud.com/ron-crider/4422-hr-3-harold-meyerson-alan-minsky
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Annunciati i vincitori dei Cinema Audio Society Awards (#CAS) i premi con cui il sindacato dei professionisti del suono elegge ogni anno i migliori “registi del sonoro”. I loro verdetti sono sempre stati molto attesi per le previsioni ai successivi Oscar perché consentivano di prevedere i favoriti nella categoria del Miglior mixaggio sonoro (Academy Award for sound mixing). Ora per il secondo anno consecutivo questa categoria è stata inglobata in quella del Best Sound. Con statistiche alla mano basti pensare che nelle ultime 28 edizioni il vincitore dei Cinema Audio Society Awards ha vinto poi l’ambita statuetta ben 15 volte: Apollo 13, Il Paziente Inglese, Titanic, Salvate il soldato Ryan, Matrix, Il Gladiatore, Dreamgirls, The Millionaire, The Hurt Locker, Hugo Cabret, I miserabili, Gravity, Dunkirk, Bohemian Rhapsody, Sound of Metal. Ecco i vincitori di quest'anno delle 3 categorie cinematografiche: MOTION PICTURES – LIVE ACTION WINNER: #Dune Production Mixer: Mac Ruth CAS Re-Recording Mixer: Ron Bartlett CAS Re-Recording Mixer: Douglas Hemphill CAS Scoring Mixer: Alan Meyerson CAS ADR Mixer: Tommy O’Connell Foley Mixer: Don White MOTION PICTURES — ANIMATED WINNER: #Encanto Original Dialogue Mixer: Paul McGrath CAS Re-Recording Mixer: David E. Fluhr CAS Re-Recording Mixer: Gabriel Guy CAS Song Mixer: David Boucher CAS Scoring Mixer: Alvin Wee ADR Mixer: Doc Kane CAS Foley Mixer: Scott Curtis MOTION PICTURES — DOCUMENTARY WINNER: #SummerofSoul (…Or, When the Revolution Could Not Be Televised) Production Mixer: Emily Strong Re-Recording Mixer: Paul Hsu Re-Recording Mixer: Roberto Fernandez CAS Re-Recording Mixer: Paul Massey CAS Music Mixer: Jimmy Douglass #CASawards2022 #AwardsSeason #Winners #TechnicalGuildAwards #CinemaAudioSocietyAward #BestSound #Migliorsonoro #Awards #Movies #StagionedeiPremi #AwardsRace #OscarsRace #RoadtotheOscars https://www.instagram.com/p/CbUFbWyocq-/?utm_medium=tumblr
#cas#dune#encanto#summerofsoul#casawards2022#awardsseason#winners#technicalguildawards#cinemaaudiosocietyaward#bestsound#migliorsonoro#awards#movies#stagionedeipremi#awardsrace#oscarsrace#roadtotheoscars
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