VANGELIS
Raine Hilson
I have just found you -
I was Vangelis's Sound Engineer in the early 80's and worked on
Blade Runner -
If anyone has any questions regarding the music or sound effects -
I'm happy to answer any questions
Cheers
Raine Hilson (nee Shine)
Martin 'Martinland' Schemitsch
> Hi Blade Runner Group -
Hi there Raine!
> I was Vangelis's Sound Engineer in
> the early 80's and worked on
> Blade Runner -
Sounds incredible!
> I have just found you
Where have you been all these years??? ;-D
> If anyone has any questions regarding
> the music or sound effects -
> I'm happy to answer any questions
Still trying to collect myself, LOL! :)
...maybe someone can jump in and ask the first one...
> Cheers
> Raine Hilson (nee Shine)
Have a better one,
Martin
--
----------------------------------------------------------
"I don't know. I'm making this up as I go!"
(Ford as Dr. Jones Jr. in 'Raiders of the Lost Ark')
----------------------------------------------------------
Netrunner
Replicant Martin 'Martinland' Schemitsch covertly transmitting a
message to renegade friends in alt.fan.blade-runner. Tracking...
>On Wed, 13 Jan 2010 15:36:52 +0100, Raine Hilson <rai...@btopenworld.com> wrote:
>
>> Hi Blade Runner Group -
>
>Hi there Raine!
Hello and welcome!
>> I was Vangelis's Sound Engineer in
>> the early 80's and worked on
>> Blade Runner -
>
>Sounds incredible!
Excellent!
>> I have just found you
>
>Where have you been all these years??? ;-D
>
>> If anyone has any questions regarding
>> the music or sound effects -
>> I'm happy to answer any questions
>
>Still trying to collect myself, LOL! :)
>
>...maybe someone can jump in and ask the first one...
I am sure there will be many questions - some of them even quite
intelligent, especially about the music. If I may, I'll launch in with
the most general of questions.
As Vangelis's Sound Engineer, I assume that you had some affinity for
his music. What did you think of the BR music as compared with what he
had been working on just prior to that? As I recall Cosmos and
Chariots of Fire were major pieces before BR.
The role of Sound Engineer is that of someone who is very musical
themselves, but usually engineering other peoples' music. Do you make
your own music and what style is that?
And of course, are you naturally a fan of the film itself, back then
and/or now? Was it a pleasure to be matching music to the film or was
the pleasure purely in the music?
Pleased to 'meet' you. Thank you for coming by.
Netrunner
Stoned in Arrakeen
Hi! I always wondered about the name "Raine Shine" on the album .........
A few questions I wouldn't mind being answered are as follows :
(1) Were you at all surprised that the music took so long to be released
officially?
(2) What's the story about the use of "Memories of Green" (from V's "See
You Later" album) being used for the soundtrack? I know Ridley Scott
liked it, but what did Vangelis say about it?
(3) Were you familiar with, and/or like the electronic music of the day?
Frederick Rousseau worked with other electronic musicians, like Jarre
for instance, which must have helped with the project.
(4) I've always thought that the track "One More Kiss, Dear" is the
proverbial 'fly in the ointment' on the album. What's your opinion?
(5) What do you think of the extra material on the 25th anniversary
re-issue?
....... and nice to hear from you.
Raine Hilson
(1) Were you at all surprised that the music took so long to be released
> officially?
Not at all - Vangelis was extremely reluctant to release the music at all -
the clips were all mainly 30 seconds long to about 2 1/2 minutes long and
he would have had to do alot of work to get these into shape for album-type
tracks -
I worked with him until 1984 so I can't answer you as to why he finally
changed his mind as the tracks were released after my time.
(2) What's the story about the use of "Memories of Green" (from V's "See
> You Later" album) being used for the soundtrack? I know Ridley Scott liked
> it, but what did Vangelis say about it?
The "See You Later" album was not critically acclaimed - it was only really
popular with staunch Vangelis fans and when he was thinking about music
for that scene - he asked me to go get the "Memories of Green" multi-track
out and it seemed to fit so totally amazingly that he decided to go ahead
and
use it.
(3) Were you familiar with, and/or like the electronic music of the day?
> Frederick Rousseau worked with other electronic musicians, like Jarre for
> instance, which must have helped with the project.
Personally - I knew Jean Michel Jarre's music as I had used it in my
previous
job and I totally loved Vangelis's previous works like Spiral and "I See You
Now"
with Jon Anderson - but it didn't really have any bearing at all on the
Blade Runner
Film.
(4) I've always thought that the track "One More Kiss, Dear" is the
> proverbial 'fly in the ointment' on the album. What's your opinion?
This track was written and sorted out by Peter Skellern - recorded in
Wembley
without my input at all - it was just mean't to be sort of on the radio
playing while
Deckard ate his noodles - it was equalised with all the bass and all the
treble taken
out to make it sound like an old-type radio and it was there really to try
and create
an old-fashioned type mood in a futuristic time.
My personal opinion - it was ok - didn't really like it or hate it alot one
way or
another.
(5) What do you think of the extra material on the 25th anniversary
> re-issue?
Again it's just my personal opinion - but when I hear the original music
from the
original film - it totally takes me back to 1981 when we recorded it -
remember this
was all done pre-computers and pre-digital so I would have to line up the
video on
a VCR and count in 10 seconds before the track started - so I have alot of
feelings
and memories about recording the music and FX -
The new tracks are fine and dandy but don't emote the feelings that I have
for the
actual original recordings.
Cheers
Raine
"Stoned in Arrakeen" <stoned@arrakeen> wrote in message
news:4b4e38de$1...@news.x-privat.org...
Raine Hilson
As Vangelis's Sound Engineer, I assume that you had some affinity for
> his music. What did you think of the BR music as compared with what he
> had been working on just prior to that? As I recall Cosmos and
> Chariots of Fire were major pieces before BR.
The very first time I visited Nemo Studios - I heard "I hear you now" with
Jon Anderson which I totally loved - amazing track - Previous to that I had
loved the Spiral Album and also China -
I worked on the Chariots album which was fine and also "See you Later" which
I liked more - "Friends of Mr Cairo" some of which was amazing - some of
which was ok - and we also worked on a film called "Missing" which was very
sad and quite an experience to work on -
So when Blade Runner came along - I loved the direction Vangelis was heading
in and enjoyed the music hugely - I prefer his 'spacey' type of tracks as
opposed
to his more 'orchestral' ones.
>
> The role of Sound Engineer is that of someone who is very musical
> themselves, but usually engineering other peoples' music. Do you make
> your own music and what style is that?
No - I was a child prodigy and played Piano from the age of 2 but I totally
and absolutely hated performing and playing in front of anyone so when it
came to choosing a career - I knew it had to be in Music but I didn't want
to play - so the choice of Sound Engineer - a back-room- suited me 100%
- I have perfect pitch and extremely musical and could relate to musicians
very easily but I just didn't want to play so apart from the odd bits of
keyboards
here and there - I just totally fell into recording and mixing music
naturally.
>
> And of course, are you naturally a fan of the film itself, back then
> and/or now? Was it a pleasure to be matching music to the film or was
> the pleasure purely in the music?
The very first clip I ever saw was at Pinewood - on the HUGEST screen ever -
the scene of Pris in her knee-high boots standing in the pouring rain and I
was sold -
Totally loved the film and totally felt privileged to have recorded and
mixed the music
and lots of the sound fx.
The film itself - I hate the overdubs version with Harrison Ford's awful
wooden
statements and originally they tried to make it a PG rating and reduced alot
of the
sound fx and took out some swearing - but the final Directors Cut was as it
should
have been and I love that film.
Cheers
Raine
"Netrunner" <e-ma...@from.BRmovie.com> wrote in message
news:l6bsk5dendg93of5j...@4ax.com...
Stoned in Arrakeen
> ok - nice one - Here goes...
>
Thanks for the answers!
>> (1) Were you at all surprised that the music took so long to be
>> released officially?
>>
> Not at all - Vangelis was extremely reluctant to release the music at all -
> the clips were all mainly 30 seconds long to about 2 1/2 minutes long and
> he would have had to do alot of work to get these into shape for album
> -type tracks -
>
Sure. Still, there was always the orchestral version by the 'New
American Orchestra' to keep us all going (http://tinyurl.com/ya2omtu).
Those guys sure were mean, rockin' muthas, as I believe Americans say.
They kicked "ass", and all that. Check out the "Review by pipecock" on
that site, by the way. He's got a lot of soul.
>> (2) What's the story about the use of "Memories of Green" (from V's "See
>> You Later" album) being used for the soundtrack? I know Ridley Scott
>> liked it, but what did Vangelis say about it?
>>
> The "See You Later" album was not critically acclaimed - it was only really
> popular with staunch Vangelis fans and when he was thinking about music
> for that scene - he asked me to go get the "Memories of Green" multi-track
> out and it seemed to fit so totally amazingly that he decided to go ahead
> and use it.
>
Ah - that's a new bit of info ........ him asking you to get it, I mean.
As for the 'See You Later' album, I've always liked it - but then I'm
one of those staunch fans. Having said that, though, I find his
'Mythodea' album to be completely unlistenable.
>> (3) Were you familiar with, and/or like the electronic music of the day?
>> Frederick Rousseau worked with other electronic musicians, like Jarre
>> for instance, which must have helped with the project.
>>
> Personally - I knew Jean Michel Jarre's music as I had used it in my
> previous job and I totally loved Vangelis's previous works like Spiral and
> "I See You Now" with Jon Anderson - but it didn't really have any bearing
> at all on the Blade Runner Film.
>
That's "I Hear You Now"! Vangelis almost joined Jon Anderson's band, you
know. But he didn't. Good to know you like Jarre. Though I lost interest
in him with his later albums, his first two are classics. They, like V's
"Spiral" are good examples of 'Berlin School' electronica
(http://tinyurl.com/cclpsp). There's quite a resurgence of that going
on, these days.
>> (4) I've always thought that the track "One More Kiss, Dear" is the
>> proverbial 'fly in the ointment' on the album. What's your opinion?
>>
> My personal opinion - it was ok - didn't really like it or hate it alot
> one way or another.
>
It's not so much the song in itself, but the way it clashes with the
rest of the music. There's so much of V's stuff *not* on the album which
could have replaced it, I think.
>> (5) What do you think of the extra material on the 25th anniversary
>> re-issue?
>>
> The new tracks are fine and dandy but don't emote the feelings that I
> have for the actual original recordings.
>
That's understandable. I'm still forming my opinions on it.
PS
Deckard - was he human, or replicant?
Raine Hilson
I went to see Vangelis in Athens in 2001 when he performed Mythodea with
a mass of people on stage - it was brilliant in the open-air under the greek
sky
and it was a magical night - so it makes the album more paleatable as it
provokes
memories !
I hear you Now - yes that's what I mean't - I remember it was the first
thing I heard
on the speakers in Nemo and it blew me away !
Deckard - human or android - the whole point of the film was to leave it as
a question
mark - not proved one way or another - so I've never worried about the
argument as
there is no definitive answer
Cheers
Raine
"Stoned in Arrakeen" <stoned@arrakeen> wrote in message
news:4b4edf49$1...@news.x-privat.org...
progea
(nee Shine) was Vangelis's sound engineer in the early '80s and worked
on Blade Runner. She mentions Jon Anderson. The original poster
mentions "Vangels almost joined Jon's band" ;)
http://groups.google.ca/group/alt.music.vangelis/browse_thread/thread/300c3814d0a56c7f?hl=en#
The Quiet American
news:n9adnfrLgu8aR9DW...@eclipse.net.uk...
Howdy!!
This thread reminds me: does someone have a comprehensive list of the
dance, trance and techno remixes of BR music ('End Titles') and the artists
who've done them? I was thinking of compiling one, but if the work has
already been done......
Don't think I got a response from anyone on the Yahoo soundtrack group
about this.
Dan
Lukas Mariman
insights on what happened between Vangelis and Jon Anderson some years ago.
They used to be good friends and released some fabulous albums.
Then there was this "Page of Life" business which reportedly p*ssed Vangelis
off, and he supposedly broke off his friendship with Jon...
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Het bericht is gecontroleerd door ESET NOD32 Antivirus.
Father Viv
I have to ask... do you play CounterStrike?
Raine Hilson
Haven't a clue what CounterStrike is -
Cheers
Raine
"Father Viv" <father.vivi...@saintalfonzospancakebreakfast.com>
wrote in message news:7rdoqi...@mid.individual.net...
Raine Hilson
Sorry can't help you there -
I worked on 2 Jon & Vangelis Albums - one was recorded at Nemo and
the other in Paris - they were on good terms all the time - whatever
happened
with them after I left Vangelis in 1984 - I'm afraid I have no idea.
Cheers
Raine
"Lukas Mariman" <lukas....@REMOVEgmail.com> wrote in message
news:ek54n.34578$jT5....@newsfe12.ams2...
Álvaro Franco
Great to hear from you. Speaking as an unofficial Blade Runner
historian since I love the score so much (it's one of my all-time
favorites), I have a very specific question for you: during Deckard's
unicorn dream, we hear a music cue that also appeared in the movie
Antarctica. Was this cue originally recorded for Blade Runner and
recycled in Antarctica, or was it recorded for Antarctica and reused
for the BR Director's Cut?
Álvaro
Max Fazio
First let me thank you for your great work throughout these years because,
speaking about the sound, I liked the albums that you produced back in the
days with Vangelis more than any other engineered by Allen or Sutcliffe, not
forgetting about Raphael Preston too: you found the right spot to let the
instruments sound in full glory without the need to spice up anything and,
by the way, I miss that sweet sound within Vangelis' productions, I tell it
for real...By the way, I took also a read at you diary on the sessions with
S.Hogarth: really enjoyable read I had!
I'd like to know some things about Blade runner but not that alone, you know
;) , please forgive me for the amount of questions:
1. How was teaming with Raphael at the times of See You Later and Chariots
of Fire? He talked about that late 70s days as enjoyable times to work at
Nemo, what are your memories and what was the atmosphere then?
2. When working for See you Later, Nemo hosted some different stars at the
times: how was to work with crazy people like Chrisma? By the way do you
remember them hanging around at Nemo? Do you have any memories about the
sessions?
3. What about the tracks that Vangelis took away the original album, like
"Fertilization" or "Neighbours Above"? Were there any problems about them?
4. What was your working day like at Nemo? And what happened when A&Rs came
at the studio?
5. Blade Runner: do you remember those fantastic bell samples in the
"Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or was
it a sample in the Emulator's library? Also, my thought is that the long
track came out of a single improvisation, isn't it? Was Vangelis any upset
from the continuous reworkings and financial problems to break at last his
agreement with Polydor?
6. How was to work with Dick Morrissey and Demis? Do you remember about
those sessions?
7. Antarctica: do you remember if were there any good recordings that were
took off ? How did the main theme lasted? My guess? At least some 4 or 5
minutes more...hihi
Many many many thanks for any answer you will give me
Max, Italy
"Raine Hilson" <rai...@btopenworld.com> ha scritto nel messaggio
news:n9adnfrLgu8aR9DW...@eclipse.net.uk...
vascofvol
I´ve heard a lot about the instant spontaneous way of Vangelis playing
music.
Do you remember how much time he spent playing for Blade Runner ?
And, one or two more questions:
How much do you miss working for Vangelis ?
Do you remember the sessions for the album "The Friends of Mr Cairo" ?
If so, the song "State of Independence" lasted much more than the
released edit, I suppose that that song was done like if
there was a party in the studio. That must be good times. Can you tell
us more about that ?
hope you have time for answering me...
thank you very much,
Vasco
Raine Hilson
I worked on both films but can't quite place which music cue you mean....
I would guess that it was recorded originally for Blade Runner and used
again
for Antarctica but would need to hear it just to remember - I'm sorry I
can't be
of more help but I don't have a copy of the Directors Cut at home and can't
remember
which cue it is but I do have a slight recollection that we may have used
something in
Antarctica that came from the Blade Runner music.
Hope that helps
Cheers
Raine
"�lvaro Franco" <agfra...@gmail.com> wrote in message
news:614cf5a6-f870-457e...@b10g2000yqa.googlegroups.com...
Hello Raine,
�lvaro
Raine Hilson
> 1. How was teaming with Raphael at the times of See You Later and Chariots
> of Fire? He talked about that late 70s days as enjoyable times to work at
> Nemo, what are your memories and what was the atmosphere then?
Well - I actually started working for Vangelis on 1st December 1980 but for
about 6-8 months before that, I started hanging out at the studio and
watching
the tracks being recorded. Raphael was the Sound Engineer and I was
originally
hired to be his assistant but on the very day I started, he told me he
wanted to
leave and Vangelis said I could either stay as his Sound Engineer and get me
an
assistant, or I could stay as Assistant and he would hire another Engineer -
I told him to give me one month to prove myself and see if we could work
well
together and I ended up working there for 3 1/2 years and I never got an
Assistant !!
It was great hanging out there and it was always a great atmosphere - I
became very
good friends with Andrew Hoy from Polydor and a few others and used to love
finishing
my other job and going over there for a few hours here and there.
> 2. When working for See you Later, Nemo hosted some different stars at the
> times: how was to work with crazy people like Chrisma? By the way do you
> remember them hanging around at Nemo? Do you have any memories about the
> sessions?
Again - I didn't really work on See you Later but I was there for some of
the
recordings - I don't remember Chrisma and if I'm honest - I think I was just
too
overwhelmed with the atmosphere of the place to really remember too much
details about those days.
> 3. What about the tracks that Vangelis took away the original album, like
> "Fertilization" or "Neighbours Above"? Were there any problems about them?
In those days - Albums were always approx. 45 minutes long - 22-23 minutes
each side and Vangelis had to choose which tracks made it to the final album
and which tracks didn't - I remember Fertilization very well and I seem to
recall
that it was an extremely long track - I don't remember Neighbours Above at
all.
> 4. What was your working day like at Nemo? And what happened when A&Rs
> came at the studio?
Lol - I used to ring Vangelis up at about noon to see what time he wanted me
to go
in and it turned around so that he would call me to let me know - I then
started sleeping
until the phone call came and one day he rang up and said...
"Raine - I am not your boss!"
I was half asleep and answered ... "Eh what??"
He replied... "I'm your f***ing alarm clock - be at the studio for 2pm !!"
He did make me laugh !
So I would get to the studio any time between about 2pm and 6pm and we would
work
until approx. midnight or alot later if he was under pressure to deliver
some tracks.
People would come and go and John Martin would look after them and make sure
they
were suitably fed and watered and shmoozed - I would just work with the boss
and keep
focussed on the recordings rather than play about with the visitors and
guests.
> 5. Blade Runner: do you remember those fantastic bell samples in the
> "Deckard and Roy's duel" scene ? Did Vangelis recorded them himself or was
> it a sample in the Emulator's library?
They were mainly in the Emulator Library - the Emulator had only just come
out and was
one of the very first digital samplers and Vangelis took alot of sounds from
there - listen
to the part when Batty is coming up in the lift before the duel - can you
spot the cat miaow??
Also, my thought is that the long
> track came out of a single improvisation, isn't it?
Which long track??
Was Vangelis any upset
> from the continuous reworkings and financial problems to break at last his
> agreement with Polydor?
I have no idea and can't answer that one.
> 6. How was to work with Dick Morrissey and Demis? Do you remember about
> those sessions?
Awww - Dick Morrissey - bless him RIP - One night myself and John Martin
went to a pub
in Barnes where Dick was doing a gig with his mate Jim Mullen - Morrissey
Mullen - it was
totally fantastic !! So we whooped and clapped and then grabbed Dick and
took him to the
studio to record the Love Theme between Rachel & Deckard - magical night - !
He was also fab on many other Vangelis tracks...
Demis was so funny - but he also had a fantastic powerful voice and I used
to have place the
microphone about 2-3 feet away from him so it wouldn't distort !
Did you spot Demis singing in the Egyptian Market???
7. Antarctica: do you remember if were there any good recordings that were
> took off ? How did the main theme lasted?
I have a couple of copies of an album called "Themes" and there are a couple
of Antarctica
tracks on there - I always look back with a bit of sadness as it was the
last music I worked
on with Vangelis - !
The main theme - again remember back in those days it was all analogue -
nothing digital -
and Vangelis would often put a sequencer and/or drum machines on for an
entire multi-track
lasting 30 minutes - he would then go back and play over some or all of it
and then pick bits
that he wanted to use for specific reasons - so as far as I can remember - I
think the main
Antarctica theme went on for quite a while and we just used the 4 or 5
minutes it lasted for
the actual film.
Many many many thanks for any answer you will give me
> Max, Italy
You're welcome Max - You are obviously a HUGE fan and I'm glad to give you
information!
Cheers
Raine
"Max Fazio" <faxi...@virgilio.it> wrote in message
news:4b56379c$0$820$4faf...@reader5.news.tin.it...
Raine Hilson
I�ve heard a lot about the instant spontaneous way of Vangelis playing
music.
Do you remember how much time he spent playing for Blade Runner ?
I think in the end it took about 3 months to record and mix the music from
beginning
to end - but that is just approx - I can't be more specific.
How much do you miss working for Vangelis ?
That's a hard question to answer - It was my decision to leave Vangelis in
1984 as
I felt that I wanted to work with different musicians and I do look back
sometimes
and wonder 'what if' - it was lovely to see him in 2001 when a group of us
went over
to Athens to see him perform Mythodea and I sat on his lap and pulled his
beard and
said "Hello Boss" and it was as if 16 years hadn't passed at all !!
Do you remember the sessions for the album "The Friends of Mr Cairo" ?
If so, the song "State of Independence" lasted much more than the
released edit, I suppose that that song was done like if
there was a party in the studio. That must be good times. Can you tell
us more about that ?
I remember the sessions very very well !
"State of Independence" was originally recorded by Raphael Preston - I only
worked on
it once he'd gone and I did loads of overdubs and all the Jon Anderson
Vocals so I don't
really remember how it came about but it was amazing to work with Jon in the
studio as
he sang right in front of me ! = At one point, I took the headphones off and
just listened to
Jon without any amplification - he was an amazing singer !
I recorded Dick Morrissey's Saxophone and alot of Carol Kenyons vocals - it
was a fantastic
track and the recording has a magic to it !
I do like Donna Summers/Quincy Jones version too but the original was
definitely magic
Cheers
Raine
"vascofvol" <vasc...@iol.pt> wrote in message
news:87e5e1e0-8f5f-4a90...@e27g2000yqd.googlegroups.com...
Max Fazio
think of as a extremely creative environment....to be true I noticed that
you assisted to See You Later and Chariots of Fire, but......can't help it,
I'd really like to learn your skills on mixing analogue instruments, let
alone Vangelis...and by the way, some 10 years ago I tried to track you back
for a small interview but crashed before record companies' silence...
About the executives, my salutes to Andrew "Obviously" Hoy! And love to Dick
Morrissey, got to jam in Heaven!
> "Raine - I am not your boss!"
> I was half asleep and answered ... "Eh what??"
> He replied... "I'm your f***ing alarm clock - be at the studio for 2pm !!"
LOLLLL!!
can you
> spot the cat miaow??
Samples? I thought about a meeow from the CS80 (that synth is keen to do
those sounds) but the cat...cruel!!! Nice even that kind of "mic feedback"
sound, in the scene of Deckard hanging from a corner of the Bradbury
building
***********************please, read
below*************************
By the way , the "long track" is, you know the jam on the last "Deckard vs.
Batty" fight which, as an original, it seemed to last some 12 minutes and
which I consider the ZENITH among all musics made by him...and which , alas,
has been slaughtered in the last record...
Two very last questions which I wish they won't bore you: I talked with the
guy who restored the Blade Runner movie (God bless you, Charlie!) and he
told me that all the music sent for the film is worth around 8 hours! I
join the friend who asked wheter the music for the unicorn scene belonged to
Blade Runner or Antarctica sessions (how I'd loved to hear that track on a
record..).
Very last question: do you remember if Vangelis ever recorded his concerts
(Sophia Antipolis for example)?
Thanks, thanks, THANKS, RAINE!!!!
Max
"Raine Hilson" <rai...@btopenworld.com> ha scritto nel messaggio
news:8aKdnUQV787-XcTW...@eclipse.net.uk...
Stoned in Arrakeen
wrote:
>
>Very last question: do you remember if Vangelis ever recorded his concerts
>(Sophia Antipolis for example)?
>
I'd be interested in knowing whether he records his concerts myself.
If he does, I doubt he'd ever willingly release them to the public,
though. As for the Sophia Antipolis event (17th August 1980) there
should be a bootleg of it doing the rounds on your favourite P2P
network. Quality-wise, it sounds like it could come from the
soundboard, though it's obviously been "treated" to get rid of hiss,
etc. If it's an audience recording, it's bloody good.
Max Fazio
I always known a bootleg of the Paris concert which is of a good quality but
never heard about a good SA recording: I've a copy of SA dating a tenth of
years ago but it sounds awful... :(
M
"Stoned in Arrakeen" <sto...@arrakeen.com> ha scritto nel messaggio
news:srdll5h2fofr29js1...@4ax.com...
Álvaro Franco
Thanks for your answer!
I can make a mp3 sample of the unicorn dream cue I'm referring to, if
that can help you remember.
Just a few more questions about BR:
-Is the film version of the 'Main Titles' cue supposed to segue into
the 'Leon's Interrogation' cue, or are they meant to be separate?
-How much source music did Vangelis compose for the movie?
-Were there a lot of alternate cues recorded?
-Would you be able to remember where the unused cues correspond?
Also, I'm assuming you worked with Vangelis on the score for
"Missing". If I'm correct, could you shed some light as to why there
was never an official score album for that movie?
MANY thanks for taking the time to answer our questions.
Thanks,
Álvaro
Raine Hilson
-Is the film version of the 'Main Titles' cue supposed to segue into
the 'Leon's Interrogation' cue, or are they meant to be separate?
The film version always segue-wayed (!?) into Leon's interrogation -
they were never separate.
-How much source music did Vangelis compose for the movie?
-Were there a lot of alternate cues recorded?
Most of the film music was original and there were also alot of different
cuts
of scenes and alot of the time - Vangelis would start from scratch so for
instance -
if a scene was 1m 20secs and he wrote some music for it and then they edited
it down to 1m 02secs - then he would often start from scratch again - so
yes -
there was lots and lots of source music !
-Would you be able to remember where the unused cues correspond?
Sorrry - no idea where they are or what happened to them
Also, I'm assuming you worked with Vangelis on the score for
"Missing". If I'm correct, could you shed some light as to why there
was never an official score album for that movie?
Yes I worked on Missing - such an amazingly sad film - again - film music
is written for scenes and scenes often don't last long enough for the music
to make an album track - so alot of sequences could be only 45 seconds
long or 1m 20secs long and it just doesn't make for a coherent album.
MANY thanks for taking the time to answer our questions.
Thanks,
�lvaro
You're welcome !
Cheers
Raine
"�lvaro Franco" <agfra...@gmail.com> wrote in message
news:2c3567c1-936b-4f3a...@21g2000yqj.googlegroups.com...
Hello Raine,
Thanks for your answer!
I can make a mp3 sample of the unicorn dream cue I'm referring to, if
that can help you remember.
Just a few more questions about BR:
-Is the film version of the 'Main Titles' cue supposed to segue into
the 'Leon's Interrogation' cue, or are they meant to be separate?
-How much source music did Vangelis compose for the movie?
-Were there a lot of alternate cues recorded?
-Would you be able to remember where the unused cues correspond?
Also, I'm assuming you worked with Vangelis on the score for
"Missing". If I'm correct, could you shed some light as to why there
was never an official score album for that movie?
MANY thanks for taking the time to answer our questions.
Thanks,
�lvaro
Álvaro Franco
Many, many thanks for your answers! The unused BR cues I was referring
to included "Damask Rose", "Mechanical Dolls", "One Alone", "Blush
Response", "Rachel's Song", "Longing", and "Empty Streets". I was
curious as to where they corresponded.
Also, do you think Vangelis would be receptive to specialty labels
like Film Score Monthly, Intrada Records, or La-La Land Records
releasing his work in complete form?
Raine Hilson
> Many, many thanks for your answers! The unused BR cues I was referring
> to included "Damask Rose", "Mechanical Dolls", "One Alone", "Blush
> Response", "Rachel's Song", "Longing", and "Empty Streets". I was
> curious as to where they corresponded.
I'm afraid I would have to listen to them to try and remember !
> Also, do you think Vangelis would be receptive to specialty labels
> like Film Score Monthly, Intrada Records, or La-La Land Records
> releasing his work in complete form?
I'm afraid I can't talk for Vangelis so I can't answer your question.
"�lvaro Franco" <agfra...@gmail.com> wrote in message
news:59c0dcb9-51bc-4c41...@n7g2000yqb.googlegroups.com...
Nicklas Ingels
> Hi Blade Runner Group -
>
> I have just found you -
> I was Vangelis's Sound Engineer in the early 80's and worked on
> Blade Runner -
>
> If anyone has any questions regarding the music or sound effects -
> I'm happy to answer any questions
>
> Cheers
> Raine Hilson (nee Shine)
Hi and Welcome to the group Raine (even thou Im late welcoming you)
I love Vangelis music very much and even thou Im a moody music
listener (playing whatever fits my current mood) I can always,
whatever mood Im in turn on any of V's wonderful music. It's good to
have you here and Im glad that you'll answer our questions.
First of all, and I know this will sound like a really weird question:
I know that the CS80 is a big machine (and expensive I belive) and I
read that Vangelis used that synth alot. I don't play any instruments
but I've found the http://www.synthtopia.com/ site where there's some
Vangelis inspired musicians doing their thing (You should do a search
for Mikz or visit http://www.youtube.com/user/mik300z for some
Vangelis inspired stuff) and they posted some list over good and cheap
synthesizers earlier this year. Since I love the sound of the BR
soundtrack and the rest of Vangelis music I would like to know, is
there a affordable synth available today that might have the
"Vangelis" like sound to it ?? (I told you it was a weird question)
I liked the "Im your f*****g alarmclock" thing Vangelis pulled on you
over the phone, he seems to be a pretty serious man so it's nice to
hear that he has a sense of humour :)
Regards,
Nicklas Ingels
http://www.tyrell-corporation.pp..se
Raine Hilson
"oceans" <zyse...@gmail.com> wrote in message
news:cf8a47f8-49e7-43ed...@c29g2000yqd.googlegroups.com...
Hi Rene,
Thanks for dropping by and answering questions over the making of
Blade Runner's film score, hope my questions are not too difficult.
1) I am curious to know what kind of video formats were cut scenes
from 'Blade Runner' were delivered to Nemo Studios? It is my
understanding scenes were delivered in video-tape format (no film
reels), but I am not sure in what format Blade Runner would have used?
What video format the scenes would be delivered, VHS, � video format,
Beta, other?
We received the scenes in VHS format and the only big difficulty was that
this was 25 frames per second whereas Film is 24 frames per second - so
if Vangelis wanted the music to totally sync to the visuals - we would
record
it synced to the VHS tape and then speed the master up by 25/24 !!
Was there any information in the video stream that may have helped
with the editing work, like a timecode readout?
Nothing at all - all done manually by hand.
2) I can imagine trying to operate both the multitrack tape and
getting the tape to synchronise with the film scene was always a
difficult task for the studio engineer (SMPTE was still in its
formative years), especially if overdubs on the Lyrec tape machine was
performed. Can you describe how synchronisation was done with the
video and multitrack tape recorder? I am quite curious to learn about
how synchronisation was achieved in Blade Runner.
All done by hand - I had to line the VHS up and pause it on a particular
cue and then start the Lyrec off and hopefully get it on time - I think,
looking
back, that I got it fairly spot on most of the time lol !
3) After completing a composition to a scene in Blade Runner, how
would the music and synchronisation be relayed to the film-editor? I
am interested how Nemo Studios provided the film-editor with
information how align the music to a scene in Blade Runner. Maybe a
text description describing at what time-readout the music should be
begin in the scene?
I would take the finished reel-reel master up to CTS Studios and get it
transferred to Film - then drive over to Terry at Pinewood Studios and
sit down with him to line it up and explain exactly which part of the music
went with which part of the scenes.
Like I said - it was all done by hand - not a single computer in sight !!
Thanks so much for your insights. Have a great day.
zyser
Raine Hilson
there a affordable synth available today that might have the
"Vangelis" like sound to it ?? (I told you it was a weird question)
Hi = I'm sorry but I can't answer your question as I don't know very
much about what is available nowadays.
I liked the "Im your f*****g alarmclock" thing Vangelis pulled on you
over the phone, he seems to be a pretty serious man so it's nice to
hear that he has a sense of humour :)
Oh Vangelis could be extremely amusing - he used to delight in making some
journalists very uncomfortable by putting a bit of white duct tape on his
nose which
completely threw them off their questions... We used to have alot of laughs
and
he had a great sense of humour !
"Nicklas Ingels" <nickla...@gmail.com> wrote in message
news:4a8852cc-0359-4a17...@m31g2000yqb.googlegroups.com...
Max Fazio
I'm still a bit curious about your teamwork with Vangelis and Blade Runner:
once I've read an interview with Keith S. Allen, where he talked about the
recording sessions, he said that there were some special eq templates to
restrain the noise from the synths and strings machines: now, because all
the recordings that you engineered have that "special" sound that I love,
how did you EQed and mixed the Roland Vocoder ? It has a weird stereo sound,
and I figure it was kind of though to mix with a dual mono outputs CS-80....
Also, the Emulator, as an 8bit sampler, was hell of aliased, how did you
help reducing the artifacts? For example, the tam-tam cymbal sample used to
create the massive gong into the Blade Runner soundtrack (and "Horizon" from
Jon and Vangelis' "Private Collection" remember?) , could have sounded
harsh, how did you succeed making it sounding smooth?
Again on the Blade Runner soundtrack: remember the scene of Tyrell's death ?
On the dvd there is a selection of unused scenes, mixed with some
alternative themes: it appears that the composition lasted longer and
somehow it was reworked by overdubbing the choir...do you have any more
memories about this ?
And what about the "disco" pieces ( Taffey Lewis' bar and backstage scenes)
? What kind of drum machines were used ?
Lastly a very non-technical question: are you still working as an engineer?
And why not trying to get working with the "boss" or "alarm clock" as you
may call him ;- )) ??
Cheerz from italy, hope you will take a little time to answer....
Max
Raine Hilson
>
> Hi Raine,
>
> Thanks so much for taking the time and answering the questions, as I
> imagined working on this score and Vangelis' other soundtracks must
> have been exciting and magical. It's also good to know the editing
> with film-editor Terry Rawlings took place at Pinewood Studios, as I
> thought it was done at Elstree Studios.
>
No - It was edited at Pinewood and then the extra sound dubs were put
on at Twickenham Studios.
> I have a few more questions though not related to Blade Runner, hope
> it's OK.
>
> 1) I am not sure if you are aware there is a music video clip of
> Chariots of Fire, where Vangelis appears playing on the piano and on
> his percussion. The location where this video was filmed seems to be
> somewhere else and not Vangelis' own studio. The reason I say that is
> because the area with percussion and piano seen towards the end of the
> video-clip looks far larger than the Nemo's own live room. Do you
> happen to know where this video-clip was filmed? Here's the Chariots
> of Fire video-clip:
>
> http://www.youtube.com/watch?v=TYJzcUvS_NU
Ahhh - how nice to see the boss looking so good - I have no idea where
it is shot - it could be his studio area as it was all black - floor, walls
and
ceiling but I don't think it was tall enough for there to be that huge film
of
Chariots playing - so can't help you there.
>
> 2) When working on the soundtrack for the South Pole Story (aka
> Antarctica), was this score composed and recorded at Nemo? A recent
> Japanese DVD of the film came a video clip showed Vangelis working in
> a makeshift synthesiser set-up, but it is clear this is somewhere else
> again. Could you take a look at this video and fast forward to 1:20:
>
> http://www.youtube.com/watch?v=CRO8BT6o8Us
Ahhh - Director Kurohara-san - did you know he was a kamikaze pilot
that was never sent out?? No - again I'm sorry - I don't know where that
clip is but it I'm guessing it was in Paris and after I left him in 1984.
>
> 3) Do you happen to recall when the two large Tannoy Dreadnaughts
> monitors were installed in the control room? Were they already
> installed when you joined Nemo in late 1980, or were you there they
> were installed sometime after you joined?
LOL - I remember the Dreadnoughts well - they used to hang down quite
low and people would constantly knock their heads on it as they walked in
the studio - i would rush over looking all concerned and then chalk another
mark up on the speakers .... tsk - we were naughty !
I'm desperately trying to remember when they went in - I have a feeling
there
were other speakers there when i joined but I can't remember exactly when
they were put in sorry - i'm not much help on this one today !
>
> Much appreciated for your insights. By the way, how do we pronounce
> your first name 'Raine'?
>
Pronounced Rayner....
Cheers
> -z
>
>
>
>>
>> "oceans" <zyser...@gmail.com> wrote in message
Raine Hilson
Hi Raine,
Ah, I do have a couple of Blade Runner related questions.
1) When composing and working on Blade Runner, was there ever a large
video projector screen used in the control room? Or was it always
using televisions for viewing the videos?
There was no large screen in the studio - a few televisions in different
places
so Vangelis could see at least one screen from any position.
2) A few years ago there was an article where it said there was a
special presentation of the Blade Runner film at Leicester Square
Odeon (London) when it first came out. The interesting bit about this
it said the music was especially mixed in Quadrophonic for this film
presentation. This is 1982... Do you happen to remember something
about this mix? And if there would be such a mix, where would this
final mix be recorded on? On the Lyrec or the two Ampex machines?
OMG - Yes - we mixed it onto a 4-track Studer I think which was
brought in specially - it was a nightmare because the desk was only
really mean't to be in stereo so we had to mix down to 4 groups -
Left - Centre - Right and Back so panning was very hard to sort out.
-z
On Jan 30, 5:27 pm, "Raine Hilson" <rai...@btopenworld.com> wrote:
> Hi there =
>
> "oceans" <zyser...@gmail.com> wrote in message
Raine Hilson
> Raine, still many thanks for your insights!
> I'm still a bit curious about your teamwork with Vangelis and Blade
> Runner:
> once I've read an interview with Keith S. Allen, where he talked about
> the recording sessions, he said that there were some special eq templates
> to restrain the noise from the synths and strings machines:
Special EQ Templates?? I have no idea what he's talking about there - there
was some DBX noise reduction which were used most of the time but they
didn't really affect the sound... maybe they added a 'quality' to the sound
but
it's debatable.
now, because all
> the recordings that you engineered have that "special" sound that I love,
> how did you EQed and mixed the Roland Vocoder ? It has a weird stereo
> sound,
Nothing special - just general EQ - there weren't alot of toys/outboard
equipment
in the studio except for the Lexicon Reverb - now that Lexicon went on
virtually
everything !
> and I figure it was kind of though to mix with a dual mono outputs
> CS-80....
I think it was just a Mono output... nothing special again -
> Also, the Emulator, as an 8bit sampler, was hell of aliased, how did you
> help reducing the artifacts? For example, the tam-tam cymbal sample used
> to create the massive gong into the Blade Runner soundtrack (and "Horizon"
> from Jon and Vangelis' "Private Collection" remember?) , could have
> sounded harsh, how did you succeed making it sounding smooth?
bring out the Lexicon - that was Vangelis's favourite reverb and smoothed
everything beautifully !
> Again on the Blade Runner soundtrack: remember the scene of Tyrell's death
> ? On the dvd there is a selection of unused scenes, mixed with some
> alternative themes: it appears that the composition lasted longer and
> somehow it was reworked by overdubbing the choir...do you have any more
> memories about this ?
I seem to remember that that particular scene was cut and changed and cut
many times - I just can't recall exactly how it was finished - I think there
may
be other out-takes which weren't used in the final film but I couldn't be
sure
> And what about the "disco" pieces ( Taffey Lewis' bar and backstage
> scenes) ? What kind of drum machines were used ?
I think that was the Emulator 1 - some kind of looped cymbal
> Lastly a very non-technical question: are you still working as an
> engineer?
Well funny you should say that as I hadn't been in a studio for 15 years up
until
last week when an old friend called me in to help him with some overdubs and
mixing - but I don't really want to name that just yet.
> And why not trying to get working with the "boss" or "alarm clock" as you
> may call him ;- )) ??
> Cheerz from italy, hope you will take a little time to answer....
> Max
>
I received a special 3-CD set from Vangelis at the end of 2008 which he'd
signed
to me with love and I was deeply touched by that as I hear that he is quite
a recluse
nowadays in Athens - but it would be nice to see him again some day.
Cheers
Raine
la2018
I just created a google account to be able to post in this group. I
couldn´t believe that Vangelis` NEMO engineer - you - is really
speaking to us fans. This is a rare chance and I would also have a few
questions if that´s okay ;-) First of all how did you get in contact
with Vangelis in the early eighties? You wrote that R. Preston was
already there and you started as his assistant but how did you get to
know about that opportunity?
If you don´t mind here are some technical questions that occupy my
mind since I heard Blade Runner for the first time:
1. Did Vangelis use the Lexicon 224 (white metal remote) or 224X (blue
metal remote) on Blade Runner? I know the latter was used on
Antarctica as can be seen in a short video excerpt on youtube.
2. How did you achieve that big deep lush but at the same time
transparent sound on the whole soundtrack? Were two or more reverbs
used for one source? For example a shorter reverb as early reflections/
ambience and a second reverb with loooong tail for that extra spacey
deep stereo image? Did you use mid/side mixing maybe by phase
inverting some channels on the Pacifica QuadEight console to widen the
reverb tails? Did you send the CS-80 into a delay and after that into
the Lexicon? Was the CS-80 maybe even directly inserted into the
Lexicon (as it had that depth parameter)? Did you compress the reverb
tail or the signal sum of the CS-80 + reverb tail? Were all 4 outputs
of the Lexicon used or were they even crucial to get that huge sound
from the unit? Did you use any special processing at all
(well...apparently yes?!?) or were the instruments - mainly the VP-330
and the CS-80 - so well sounding machines that they were just put
through the verb and it sounded that good?
Blade Runner Blues as an example. How a "normal" engineer would do it:
A "normal" channel setup could be CH1 CS-80, CH2 VP-330, CH3/4 stereo
Delay, CH5/6 Lexi.
Then a bit of CH1 sent to the stereo Delay which is sent to the Lexi +
VP-330 sent straight to the Lexi.
Direct instrument signals + effect returns mixed to taste + a bit
compressor/limiter by some bus compressor on the sum. But that does
not seem to be all to get that sweet sound...
Would you reveal that mystery to us or should this stay your trade
secret and so be kept? :o)
When I see those old photographs from Nemo Studio I wish I could just
go right in there, back in time, breathe in the atmosphere, sit down
on those white 70ies couches and listen to the ethereal music coming
out of the Tannoys played... or maybe better >reveived< by that
mystical man.
Just an idea: Maybe you would like to write a book with your memories
of the "Recording Vangelis" years including photos from studio
sessions or publish an extensive article like that. If there was a
book I would buy it instantly as I think would do most of the Vangelis
fans out there. Also an audio engeneering essay like "Raine Shine -
The Nemo Sound" would be very welcome, too ;-)...
All the best
Ken
Max Fazio
It IS an honour and a pleasure for me to chat with you about these topics!
Thanks from the bottom of my heart!
M
"Raine Hilson" <rai...@btopenworld.com> ha scritto nel messaggio
news:aYCdnShR3MuD7vrW...@eclipse.net.uk...
Max Fazio
now, Ken!
Max
"la2018" <yahoo...@freenet.de> ha scritto nel messaggio
news:c0a82d82-da51-432e...@21g2000yqj.googlegroups.com...
vascofvol
Here are a few more questions:
Someone got the information about 8 hours of music recorded for Blade
Runner.
It sounds a lot to me and a little bit strange since I always heard
that Vangelis composes music instantly, I mean,
It seems that he can understand the images and play music perfectly
without rehearsals and avoiding alternate takes.
So, Do you remember Vangelis playing 8 hours of sessions for Blade
Runner ?
Another thing:
Just to have an ideia of Vangelis ease of playing music, did he play a
lot of music not oficially released when you worked with him ?
For example, extra music for Frederic Rossif ?
Thank you very much Raine.
Vasco
Max Fazio
I've had the info from the guy that restored the movie for the final cut, he
told me that he's got an archive of music worth of 6 cds, then being a
redbook cd worth 74 minutes, you've got 444 minutes of music, which is more
or less 8 hours...
M
"vascofvol" <vasc...@iol.pt> ha scritto nel messaggio
news:b261c49a-6fc0-4bd1...@l19g2000yqb.googlegroups.com...
Sirchasm
top-posted:
>
>Thanks from the bottom of my heart!
>
And the top of your post!!!
Max Fazio
the recent Blade Runner Trilogy compilation? My curiosity goes a lot to the
"Deckard vs.Roy's Duel" track which, as long as I remember (having heard
bootlegs once, I confess), was a longer track: if I look at what I remember
that track sounded absolutely monumental, to me it is the zenith of all the
compositions made by Vangelis, and I'm saddened and disappointed that it has
been cut so badly...many thanks for your insight again!
M
"Raine Hilson" <rai...@btopenworld.com> ha scritto nel messaggio
news:aYCdnShR3MuD7vrW...@eclipse.net.uk...
Jon TMW
Hi Raine. Thanks for your interesting answers!
Raine Hilson wrote:
> (2) What's the story about the use of "Memories of Green" (from V's "See
>> You Later" album) being used for the soundtrack? I know Ridley Scott
>> liked it, but what did Vangelis say about it?
>
> The "See You Later" album was not critically acclaimed - it was only
> really popular with staunch Vangelis fans and when he was thinking about
> music for that scene - he asked me to go get the "Memories of Green"
> multi-track out and it seemed to fit so totally amazingly that he decided
> to go ahead and
> use it.
Did you work on "See You Later"? I like it, but then I'm another of those
staunch fans.
I was wondering if you knew anything about the final track, "Suffocation",
which seems to be related to the photo on the back cover of the LP. I can
understand the English and French lyrics and I've seen a translation of
the sections in Italian, but despite this I've never been completely sure
what the song is about, and wondered if you knew anything about it. Does
it refer to a real incident or is it purely imaginative?
Thanks for any light you can shed - Jon
--
_____________________ ____ _____________________________________________
\ _/__
j...@serf.org \X / These are the days of miracle and wonder
http://jon.at.serf.org \/ This is the long-distance call
la2018
Yes, it seems now that the most interesting questions are up they´ll
probably not be answered. This was a once in a lifetime chance and I
think my questions came just a little too late.
We can only hope she still reads here and may chime in again if her
time allows...
BTW congrats to the ME80 ;-)
Best
la2018
Max Fazio
she's a no-frills approach while, rather, is able to enhance the character
of the recorded instruments, this wheter or not with Vangelis...
Maybe she's been contacted from the management of Vangelis just telling her
a kind "shut your mouth!" , don't know, I'll miss her posts.
Thanks for the greetings about the ME80, we did it freely, hope it will
develop more with the help of a skilled programmer...
;)
M
"la2018" <yahoo...@freenet.de> ha scritto nel messaggio
news:00e20ae4-140c-4ff0...@z11g2000yqz.googlegroups.com...
JohnA
> Did you work on "See You Later"? I like it, but then I'm another of those
> staunch fans.
>
> which seems to be related to the photo on the back cover of the LP. I can
> understand the English and French lyrics and I've seen a translation of
> the sections in Italian, but despite this I've never been completely sure
> what the song is about, and wondered if you knew anything about it. Does
> it refer to a real incident or is it purely imaginative?
>
"Suffocation" was, according to later interviews, inspired by a
chemical incident in Italy (10 July 1976 at Seveso, Lombardy in the La
Roche factory). It employs the CR-5000 and a saw wave synthesizer
melody, followed by an eerie brass and megaphone emergency
announcements in Italian. The second (slower) half of the piece
features vocals by Jon Anderson and a narrative in Italian, by Krisma
(Maurizio Arcieri and Christina Moser).
vascofvol
> Hi Vasco
> I've had the info from the guy that restored the movie for the final cut, he
> told me that he's got an archive of music worth of 6 cds, then being a
> redbook cd worth 74 minutes, you've got 444 minutes of music, which is more
> or less 8 hours...
> M
>
Hi Max Fazio !
I've been out of internet for a few days and now I'm updating and
replying as much as i can...
Yes, now I remember it was you that told about those more or less 8
hours...
Anyway, it sounds a little bit strange for me that Vangelis recorded
that amount of music for 2 hours movie.
I could accept easily if Vangelis recorded more or less 4 hours, but 8
hours sounds too much.
and, you probably have heard about the way of Vangelis working, he
works very fast, he usually doesn't keep any alternate versions of his
songs,
he said that in his interviews in the 70's and early 80's. You can
read at www.vangeliscollector.com or at elsew.com
Remember the Ridley Scott comments on special 3 CDs edition of B.R. he
says that the music created was done "...on the fly.." I guess.
If Raine gives her testimony on that...
And you, Max, can you check again with that guy that restored the
movie about how much music created for B.R. contained on those 6 CDs ?
About the first sample LP of "See you later", the record company
didn't accept it at that time (1980). It was censured because of the
song "Fertilization" put it together
with other kind of "punk" style songs. Someone in the record company
didn't enjoy it. So, we got the lucky of have a copy of that sample
not for sale LP !
and a few singles releases of those "punk" songs sung by Chrisma !
Vasco
Max Fazio
I don't know what to say, the guy is De Lauzirika himself, I think he's got
some knowledge here, he supervised the restoration work...at the moment
Charlie is getting into film direction himself, I guess he's a lot busy at
the moment for trying to contact him and I wish to him the best....on the
other hand I can speculate that the 6 cd set could include also the non
vangelis music used for the workprint copy of the movie, but that's just a
guess with no evidence of that....go figure, even Mrs. Shine herself
couldn't remember how many tracks have been composed for the job...!news:a3b3c907-5abf-4198...@x22g2000yqx.googlegroups.com...
Raine Hilson
There were 4 televisions in the control room so that any way
that Vangelis faced, he could see a screen.
OMG - yes we recorded the music in 4-track using a 4-track
Studer that we hired in. It was a total nightmare as the mixing
desk only went to stereo so we had to mix to 4 Groups...
Trying to pan between the groups was a headache as they were
- Left - Centre - Right - Back.... so not easy to sweep around.
Cheers
Raine
"oceans" <zyse...@gmail.com> wrote in message
news:00475d7d-f1a6-4bea...@f12g2000yqn.googlegroups.com...
Hi Raine,
Ah, I do have a couple of Blade Runner related questions.
1) When composing and working on Blade Runner, was there ever a large
video projector screen used in the control room? Or was it always
using televisions for viewing the videos?
2) A few years ago there was an article where it said there was a
special presentation of the Blade Runner film at Leicester Square
Odeon (London) when it first came out. The interesting bit about this
it said the music was especially mixed in Quadrophonic for this film
presentation. This is 1982... Do you happen to remember something
about this mix? And if there would be such a mix, where would this
final mix be recorded on? On the Lyrec or the two Ampex machines?
-z
On Jan 30, 5:27 pm, "Raine Hilson" <rai...@btopenworld.com> wrote:
> Hi there =
>
> "oceans" <zyser...@gmail.com> wrote in message
Raine Hilson
-
I have never heard this about Ridley Scott playing Vangelis music
in Hollywood and certainly Vangelis never composed anything for this
specifically.
Keeping track of all the multitracks that Vangelis composed was a huge
task as he was so prolific - we used to give him a cassette with the date
on it and then keep the multitracks in a store-room with the dates on -
I also used references like... "Greek King came to visit" or other memorable
occasions that might help but essentially - he would play the cassette and I
would have to go find the tape and there were literally hundreds of tapes
in the store room.
A circular saw on a piano -?? Never saw this.
Vangelis's beautiful Steinway was black and he did also
bring in a Bosendorfer while I was there and had the Steinway
in the Control room and the Bosendorfer in the Studio area -
I remember a party when Dudley Moore came along and they
duetted - amazing night !
Cheers
Raine
"oceans" <zyse...@gmail.com> wrote in message
news:6da8041c-515a-4c7a...@m31g2000yqb.googlegroups.com...
Hi Raine
A few more questions
1)
When film director Ridley Scott was filming Blade Runner in Hollywood,
before he started shooting a new scene he would play over large
loudspeakers music by Vangelis, so as to put the actors and the film
crew into mood. Since Vangelis only started scoring after the film
went into post production and not before December 1981, I have always
wondered what sort of music Ridley used. Do you recall if Vangelis
made some temp or demo music for Ridley before or during filming? Or
would this music consist of existing releases by Vangelis, like
compositions from See You Later, China, etc.?
2)
I am curious how did you manage to keep track of all the multitrack
tapes when Vangelis wished to revisit a particular scene cut? What
kind of book-keeping did you use to be able to remember, retrieve and
load the right tape when Vangelis wished to go back to and work on a
composition?
3)
In the live room there was a monstrous-looking instrument, a 20-inch
circular saw blade attached to a piano frame. The one instance I knew
he used this was for his debut London concert in 1976. I am curious if
this instrument used on any projects when you worked with Vangelis?
4)
Can you recall if Vangelis' Steinway & Sons concert grand finished in
mahogany or black? And is it the same piano used for ‘Chariots of
Fire’?
As far as I tell through in old photos, Nemo’s did not have
Bosendorfer between 82 and 84, though it did re-appear again after
Nemo’s renovations in 84.
cheers
zyser
Raine Hilson
You're welcome - it's nice to revisit this time of my life.
So long ago tho.
Cheers
Raine
"Max Fazio" <faxi...@virgilio.it> wrote in message
news:4b68aaa5$0$1144$4faf...@reader1.news.tin.it...
Raine Hilson
I was amazed and delighted to receive a copy of the Trilogy from
Vangelis which he signed "with love" - I know he lives very quietly
and so I was so happy to get this...
As far as I can recall - this track was recorded directly while watching
the scene and it may have been cut if the scene was cut but alot of the
time, Vangelis would re-record a piece if the scene was cut too much...
I have to admit I haven't played the whole 6 minutes before writing
this but can't remember it being "cut so badly"
Cheers
Raine
"Max Fazio" <faxi...@virgilio.it> wrote in message
news:4b70ace9$0$1134$4faf...@reader1.news.tin.it...
Raine Hilson
I have to admit I became a little overwhelmed at the amount
of questions but I am having another go at answering them.
Cheers
Raine
"la2018" <yahoo...@freenet.de> wrote in message
news:00e20ae4-140c-4ff0...@z11g2000yqz.googlegroups.com...
Raine Hilson
Cheers
Raine
Oh - and thank you SO much for your kind words.
"Max Fazio" <faxi...@virgilio.it> wrote in message
news:4b7a76ab$0$823$4faf...@reader5.news.tin.it...
Raine Hilson
Well - I used to work at another studio where the maintenance
engineer was a guy called Dave - (can't remember his surname)
- I asked him if I could go with him to Nemo and he offered to
take me - while I was there, I met Yannis, Vangelis' manager and
he invited me to come along any time I liked - and eventually I met
Vangelis and told him I was a sound engineer.
When the opportunity arose to become Raphaels' assistant - I jumped
at the chance.
Wow - the Lexicon 224 - that is going back... as far as I can remember
the Lexicon 224 was White with big black sliders which he used and when
the Lexicon 480 came in - that was Blue - but I can't remember if that was
in by the time we worked on Blade Runner.
2. How did you achieve that big deep lush but at the same time
transparent sound on the whole soundtrack? Were two or more reverbs
used for one source? For example a shorter reverb as early reflections/
ambience and a second reverb with loooong tail for that extra spacey
deep stereo image?
As far as I can recall - the Lexicon 224 was used for 95% of all reverbs -
it is possible that we dug out the old Spring reverb for a particular sound
but it wasn't on the overall mix.
Did you use mid/side mixing maybe by phase
inverting some channels on the Pacifica QuadEight console to widen the
reverb tails?
No - don't think so.
Did you send the CS-80 into a delay and after that into
the Lexicon?
Nope - don't think so - there is a pre-delay on the Lexicon which we used.
Was the CS-80 maybe even directly inserted into the
Lexicon (as it had that depth parameter)?
No definitely not.
Did you compress the reverb
tail or the signal sum of the CS-80 + reverb tail?
Vangelis detested compression of any kind and I tried to use them a few
times but he wouldn't hear of it - in my humble opinion - that was a shame.
Were all 4 outputs
of the Lexicon used or were they even crucial to get that huge sound
from the unit?
Wow - I really can't remember - I think it was just stereo.
Did you use any special processing at all
(well...apparently yes?!?) or were the instruments - mainly the VP-330
and the CS-80 - so well sounding machines that they were just put
through the verb and it sounded that good?
That's just about it - another big synth used on Blade Runner was the
Prophet 10 - that was used for the huge deep notes.
Blade Runner Blues as an example. How a "normal" engineer would do it:
A "normal" channel setup could be CH1 CS-80, CH2 VP-330, CH3/4 stereo
Delay, CH5/6 Lexi.
Then a bit of CH1 sent to the stereo Delay which is sent to the Lexi +
VP-330 sent straight to the Lexi.
Direct instrument signals + effect returns mixed to taste + a bit
compressor/limiter by some bus compressor on the sum. But that does
not seem to be all to get that sweet sound...
Would you reveal that mystery to us or should this stay your trade
secret and so be kept? :o)
I just think it was simple - the synths were on channels - the channels
were sent to the Aux Sends which went to the Lexicon and returned
on the Channel Returns further up the desk and mixed into the main sound -
No frills - nothing special and no secrets.
When I see those old photographs from Nemo Studio I wish I could just
go right in there, back in time, breathe in the atmosphere, sit down
on those white 70ies couches and listen to the ethereal music coming
out of the Tannoys played... or maybe better >reveived< by that
mystical man.
It was a very special place - it also smelt amazing with incense and flowers
and definitely no place like it ever before or since.
Just an idea: Maybe you would like to write a book with your memories
of the "Recording Vangelis" years including photos from studio
sessions or publish an extensive article like that. If there was a
book I would buy it instantly as I think would do most of the Vangelis
fans out there. Also an audio engeneering essay like "Raine Shine -
The Nemo Sound" would be very welcome, too ;-)...
Lol - that's very kind of you - but you guys seem to know so much more
about it than I can remember -I would need all these threads to remind me
of everything !
Cheers
Raine
"la2018" <yahoo...@freenet.de> wrote in message
news:c0a82d82-da51-432e...@21g2000yqj.googlegroups.com...
Raine Hilson
Cheers
Raine
"Max Fazio" <faxi...@virgilio.it> wrote in message
news:4b68ab9e$0$1134$4faf...@reader1.news.tin.it...
Raine Hilson
For example - you know Rachel's theme which is now used on
Chilled out Ibiza - sung by Mary Hopkin and never used on the
Blade Runner film? He set that Jupiter 4 sequencer going for the
whole 30 minutes of multi-track - He only used about 8 minutes
of it for the song but it could be argued that this is 30 minutes of
music...
On the whole Vangelis played the music as he watched the scenes
without rehearsals at all - but there might be 8 hours of music in total
as many scenes were re-recorded.
Vangelis recorded a HUGE amount of music not officially released -
tapes and tapes and tapes were stored and might, to this day, never
have been heard again.
Cheers
Raine
"vascofvol" <vasc...@iol.pt> wrote in message
news:b261c49a-6fc0-4bd1...@l19g2000yqb.googlegroups.com...
Kristian Rink
just a short one in here as I am still trying to read through all this
thread:
Am Wed, 13 Jan 2010 22:17:22 -0000
schrieb "Raine Hilson" <rai...@btopenworld.com>:
> (4) I've always thought that the track "One More Kiss, Dear" is the
> > proverbial 'fly in the ointment' on the album. What's your opinion?
>
> This track was written and sorted out by Peter Skellern - recorded in
> Wembley without my input at all - it was just mean't to be sort of on
> the radio playing while Deckard ate his noodles - it was equalised
> with all the bass and all the treble taken out to make it sound like
> an old-type radio and it was there really to try and create an
> old-fashioned type mood in a futuristic time.
> My personal opinion - it was ok - didn't really like it or hate it
> alot one way or another.
Well, the first time I listened through the soundtrack album I instead
was surprised by "One more kiss...", feeling it somehow not at all fit
in there. After listening to it a few more times (well, guess it must
have been hundreds of times I listened to this music by now...), I
think the "contrast" between "One more kiss..." and "Blade Runner
Blues" (which is the next track at least on my CD) is one of the most
vivid moments of the whole album, of virtually every soundtrack I
listened to, so far...
K.
Mr. Helpful
<rai...@btopenworld.com> top-posted, many times:
>.......
>
The Quiet American
news:ae6o46du9utffqqh5...@4ax.com...
The nice thing about internet and Usenet etiquette is you can ignore the
rules any time you want or make up new ones and not give a shit. If people
want your information, they'll read it regardless.
Dan
Lukas Mariman
"The Quiet American" <dr...@brisbanegraphicartsmuseum.com> schreef in
bericht news:i2hp1i$59s$1...@news.eternal-september.org...
While I do agree that following the Netiquette guidelines has its uses, it's
not like we're drowning in posts ATM, and I think Raine isn't a Usenet
veteran, so let's go easy on her, Mr. Helpful...
Lynn
The nice thing about standards is that there are so many to choose from.
The Quiet American
news:x9udnUIXGINGhdDR...@speakeasy.net...
Well, I think what I was trying to point out is that Mr. Helpful is
being a bit of a dick.
Dan
Lynn
>> The nice thing about standards is that there are so many to choose from.
>
> Well, I think what I was trying to point out is that Mr. Helpful is
> being a bit of a dick.
>
> Dan
... and I think I was agreeing with you.
The Quiet American
:-)
DR
Raine Hilson
I'm only answering questions...
So I think he can go play with himself somewhere else
Cheers and thanks again
Raine
"The Quiet American" <dr...@brisbanegraphicartsmuseum.com> wrote in message
news:i2log0$5ot$1...@news.eternal-september.org...
Lukas Mariman
"Raine Hilson" <rai...@btopenworld.com> schreef in bericht
news:Je2dnVIJJdhHnc3R...@eclipse.net.uk...
> Is he trying to say that I'm spamming the group?
> I'm only answering questions...
> So I think he can go play with himself somewhere else
The person in question was basically berating you for not using proper
"netiquette".
The Quiet American
news:bKU3o.228796$9c1.223899@hurricane...
In other words, being a dick.
DR
Lynn
that you're supposed to answer only at the bottom at all times.
In other words, he's being a total dick over something so
mind-bogglingly trivial that it's beyond description.
To add insult to injury, as far as I can tell, he's not posted to this
newsgroup before -- he's imposing his netiquette on a group where he
hasn't chosen to participate.
You're answering questions that the majority of actual A.F.BR members
enjoy, so complaining about such a minor infraction makes "Mr. Helpful"
a dick.
Although, I suspect this could be a bot of some kind, which means the
dick is the person who thought it was needed and created it.
Suggestion: let's all top-post for a while as a protest. I'll start.
The Quiet American
--DR
"Lynn" <Use...@ColdRocksHotBrooms.com> wrote in message
news:-smdnd-n6L6O883R...@speakeasy.net...
Lukas Mariman
"The Quiet American" <dr...@brisbanegraphicartsmuseum.com> schreef in
bericht news:i2pp8d$4d8$1...@news.eternal-september.org...
He/she/it could/should have not been so blunt about it, granted.
Playing the devils' advocate here...
That said, Usenet threads can get pretty large and hard to follow; therefore
it does help if people follow similar guidelines when posting. Hence the use
for the "netiquette".
Lynn
In this case, we have Raine, an eyewitness to events that interest the
group, and willing to share that history.
So yeah, 7 points for technical accuracy, and -500,000 points for style.
(and take off another 500,000 for "mr. helpful" visiting a.f.br just to
raise the "netiquette" issue -- and maybe a few more points for being a
skin-job, just for good measure).
I'm not as fanatic about Vangelis (love the soundtrack, didn't like the
soundtrack album that much), but I'm enjoying the posts.
It's nice to see a little activity. It's been awfully quiet here (and
in rec.sport.curling).
Raine, go for it.
Lukas Mariman
"Lynn" <Use...@ColdRocksHotBrooms.com> schreef in bericht
news:eZydne5IncvOCs3R...@speakeasy.net...
> One can be absolutely correct and still be a jerk.
>
> In this case, we have Raine, an eyewitness to events that interest the
> group, and willing to share that history.
>
> So yeah, 7 points for technical accuracy, and -500,000 points for style.
> (and take off another 500,000 for "mr. helpful" visiting a.f.br just to
> raise the "netiquette" issue -- and maybe a few more points for being a
> skin-job, just for good measure).
>
> I'm not as fanatic about Vangelis (love the soundtrack, didn't like the
> soundtrack album that much), but I'm enjoying the posts.
>
> It's nice to see a little activity. It's been awfully quiet here (and in
> rec.sport.curling).
>
> Raine, go for it.
FWIW, I tend to agree...
Mr. Helpful
<rai...@btopenworld.com> top-posted once more:
Thanks for the thanks. And cheers!
Well, thinking is very, very important, isn't it?
And I'm askin' 'em!
Yep. That's right. A blind person could see that's what I'm trying to
say. Obvious, really.
Lynn
... and while it might be polite to post at the bottom, what Raine can
tell us is far more important.
That is why those who hang out here chose to let a relatively minor
infraction go.
Yes, thinking is important. A blind person can also see that driving
off newcomers will eventually solve the problem:
No posts, no top-posting. Problem solved.
The Quiet American
> On Wed, 28 Jul 2010 11:04:44 +0100, "Raine Hilson"
> <rai...@btopenworld.com> top-posted once more:
>
> Thanks for the thanks. And cheers!
> Well, thinking is very, very important, isn't it?
> And I'm askin' 'em!
> Yep. That's right. A blind person could see that's what I'm trying to
> say. Obvious, really.
>
Douchebag.
DR
Lynn
You forgot to top-post.
-- Lynn
Raine Hilson
questions which are further up the stream??
If you are answering questions - how can I "Reply Group" if it isn't
at the top>>?
No idea - anyways - I don't care - If there are any more questions -
please feel free to fire them !
Cheers
Raine
"Lynn" <Use...@ColdRocksHotBrooms.com> wrote in message
news:XvudnVbGU92sL8jR...@speakeasy.net...
Lukas Mariman
"Raine Hilson" <rai...@btopenworld.com> schreef in bericht
news:bYGdndgxTvBsL8vR...@eclipse.net.uk...
> I'm interested to know how I could have 'top-posted' if I'm answering
> questions which are further up the stream??
>
> If you are answering questions - how can I "Reply Group" if it isn't
> at the top>>?
Some Usenet software will automatically put your answers below the previous
post. Unfortunaly some software doesn't and places it on top.
It's not the end of the world, but it can make things confusing when long
discussion threads evolve.
> No idea - anyways - I don't care - If there are any more questions -
> please feel free to fire them !
Can't think of anything Vangelis-related right now - I wish he'd release
some more music though. :-)
Lynn
relative to the quoted text.
I'm typing above what you wrote, that's top-posting.
But, in summary, someone who cares more about where you type than what
you say, and who apparently came to alt.fan.blade-runner just to
criticize someone because of where you type is complaining.
... and those who are here because they're interested in all things
Blade Runner -- who hang out here -- are not complaining.
Some of us are committing the same infraction, as a protest.
-- Lynn
Mr. Helpful
<rai...@btopenworld.com> top-posted again, the silly-billy:
>I'm interested to know how I could have 'top-posted' if I'm answering
>questions which are further up the stream??
>
You know, that's a darned good question, R. In fact, it's made me
rethink what I wrote. About the top-posting, and stuff. Well, I've
been scratching my head and, basically, I'm fucked if I can come up
with an answer to your eminently sensible query. I mean, it only makes
sense, doesn't it? Yes ....... stuff that's, erm, "upstream" should,
indeed, become magically "bottomed". Definitely. And stuff *down*
stream should be, erm ......... Confusing, isn't it? Yes. It is.
>If you are answering questions - how can I "Reply Group" if it isn't
>at the top>>?
>
Another damn fine observation, R. If you ask me, those Outlook Express
people of yours need their arses spanked for not letting you "Reply
Group" if it isn't at the top, or whatever. Hanging's too good for
'em.
>No idea - anyways - I don't care - If there are any more questions -
>please feel free to fire them !
>
Oh no ....... I wouldn't do that, R. Making questions redundant is a
serious business, and should not be done lightly. Some of them have
families to feed, etc.
>Cheers
>Raine
>
Yes! Yes!!! Cheers, R!
Lynn
that the thing giving you heartaches is what happens inside just one
message.
That's very different. Not explaining the difference is not very
helpful, "Mr. Helpful."
If you'd like to be part of the discussion, please join in. If you
aren't, then you're just another troll.
... and it's time to stop feeding the troll.
-- Lynn
Raine Hilson
"oceans" <zyse...@gmail.com> wrote in message
news:b7dcdb45-7a2a-4784...@i31g2000yqm.googlegroups.com...
On Aug 2, 1:58 pm, "Raine Hilson" <rai...@btopenworld.com> wrote:
> No idea - anyways - I don't care - If there are any more questions -
> please feel free to fire them !
>
Hi Raine,
Glad to see you back, many thanks for taking the time to reply, I will
try not to overwhelm you with many questions but please ignore
anything you wish to skip ;-)
I'll do my best...........
1- Were the percussion on Blade Runner played live, or captured and
played on his Emulator sampler?
Oh - there were alot of real percussion used - there was a shop somewhere
near Dean Street or Wardour Street that Vangelis used to go and buy up
from time to time - I remember some metal bowls of different sizes which
were hit with a rubber handle of sorts and I also remember groups of
japanese
musicians coming in with a whole range of percussion - I had to ask them to
hit these so I knew where to mic them up !
2- Were there any unusual instruments you can recall that were used on
any Vangelis' records? Not necessarily synthesiser, but also
acoustical instruments.
There was the Koto used for the opening sequence - and like above - a
whole range of unusual things that made unusual noises...
With regard to the instrument that incorporated a circular saw on a
piano, here's a photo of this:
http://www.nemostudios.co.uk/nemo/sections/br/gallery/Nemo-Sound-10b.jpg
The photo is dated in the summer of 1982 and is seen behind the
vibraphone and the crotales both situated in the live room. It looks
like a menacing instrument to me.
I can't remember this at all - sorry ....
3- I am trying to establish where thetape store-room was located
during your tenure at Nemo Studios? It seemed the store-room was
relocated a number of times. Do you remember if it was located one
floor below next to Brian Jackson Films' office, or located on the
hallway just outside the studio and accessible via the wooden
staircase (what used to be the DIY room for Nemo Studios)?
The Store room - I'm trying to remember that I went up some
stairs - along a very long corridor to a small room at the back -
Trying to think about it - it may have been along the side of the
studio area - it's funny - I used to go along to that room fairly
frequently and I can't remember the journey - just that it was
up some stairs - along a long corridor and either up or down
some stairs at the end - .... sorry it's a bit fuzzy.......
4- Do you know if Vangelis personally attended the Royal Film
Performance for Chariots of Fire held at the Odeon Leicester Square,
March 1982? It was a star-studded event. Since it was held in March
1982 when he was trying to finish the music for Blade Runner, not
clear if he had the time to go.
Sorry - Can't remember that either - he may have done - I know
he most definitely did not go to LA for the Oscars.
best of wishes
and thank you Raine for taking the time, always pleasure to be hearing
from you.
oceans
Pleasure Oceans ! Sorry I can't remember all the details.........
Cheers
Raine
Raine Hilson
"Mr. Helpful" <he...@itsme.com> wrote in message
news:bglg56tqrpqbvrrp2...@4ax.com...
Jorge
Raine, I am very glad that you are sharing your working experience
with us. I think you were very lucky working with Vangelis in one of
his most remarkable periods. I have some technical questions
concerning the recording of Blade Runner soundtrack and the sound of
those years.
1.- Concerning Lexicon 224 reverb, what were the most used algorithms
during the mixing process? (Concert Hall?, Rich Plate?)
2.- Did you used reverb during the mastering process of the music
pieces? Do you remember the typical wet/dry percentage?
3.- Could you coment other aspects of the mastering process that
contributed to create that bright unique Blade Runner sound?
Best wishes and thank you very much.
Jorge
Raine Hilson
As far as I can remember - it was always on Concert Hall -
I don't think we put the whole master through the Lexicon -
just there for mixing - it was never recorded - just on the
group returns. Almost used as an instrument in itself.
Mastering process - you mean when we mix or when it
was mastered for CD and/or Album?? We went to CBS
to master as I recall - there were a few toys that were used
- mainly EQ's and no compressors -
Sorry I can't be more specific.
Cheers
Raine
"Jorge" <jorge...@hotmail.com> wrote in message
news:39bce4ac-122c-48c9...@x21g2000yqa.googlegroups.com...
Jorge
- Yes, when I asked about the mastering process, I referred to the
mastering for an Album or CD. I thought that this process was made
also at Nemo.
- Concerning mixing process, I derive from your answers that the music
we hear in the films (Blade Runner, Antarctica, etc) is the result of
a mixing process with the typical EQ and some reverb and echoes. Do
you remember any other process you made during mixing?
- In the 'Making of Blade Runner', Ridley Scott remembers the daily
visits to Nemo in the evening to hear the recordings as one of his
best moments as a film director. Could you describe the amazing
atmosphere in the studio during those moments? I mean, how was the
interaction between them, commenting the scenes, the music, etc?
It's great you share your experience with us.
Thanks again,
Jorge
Mr. Helpful
<rai...@btopenworld.com> top-posted again (it had to be. Corrected.):
Yes! As I said before, cheers, R, and all that. Can't make up my mind
whether you're showing evidence of a sense of humour (heretofore well
hidden) or a state of stoned-dom similar ro my own.
Anyway, this should help you in your quest not to appear too dense on
Usenet:
Yes.
Raine Hilson
As far as i can remember - Vangelis had his 'regular' synths
that he used and then from time to time - an occasional 'other'
synth would be summonsed from the store room and brought
up by John Martin - I'm afraid I can't remember any specific
synths that were brought up for Blade Runner - I know that
there was a Moog Sequencer of sorts whereby the pots were
arranged to give a certain frequency of white noise and this is
the main sound for Chariots of Fire - but Blade Runner - can't
remember sorry.
Again - my memory is sketchy but I think the Lyrec and later
Otari or was it Atari - anyways - the multi-tape recorder was
set at 30 ips which I think 15 minutes or is it 30 minutes - Maybe
originally he had everything at 15ips for half an hour but then
went to 30ips - sorry - someone more knowledgeable can
probably answer that - but I remember always putting a
white squiggly chinagraph wavy line on the tape so he knew
it was reaching the end....
The DBX was always in and sometimes he would experiment
with recording with DBX and then playing back without it - which
had a strange effect which sometimes worked and mostly didn't.
I remember a special Dolby Film person came in and put in
Dolby for the 4-track which we used on the mixes. Definitely
used for Blade Runner
There you go Oceans
Cheers
Raine
x
"oceans" <zyse...@gmail.com> wrote in message
news:eeb1e6b6-4a2c-481e...@h28g2000yqd.googlegroups.com...
Hi
Thank you for your candid replies. I have some questions on the
synthesisers used in the studio during the time of Blade Runner,
followed by a couple on noise reduction.
- A question on the synthesiser setup around the time of scoring Blade
Runner. There was a dozen or so synthesisers arranged in a broken
square in the middle of the control room, but next to that around
1982, there were a couple of synthesisers placed opposite to where
Vangelis would be normally sitting and facing away from where he is
seated, he could not be able to reach them during his improvisation or
composition stage. These particular synthesisers facing away were not
normally associated with Vangelis’ palettes of sounds, so I am
wondering if these synthesisers were ever used for making sounds on
Blade Runner, or perhaps they were used as a way to electronically
connect his analogue sequencer setup (i.e. Jupiter 4, ProMars
Compuphonic, CSQ-600), Here are a couple of photos from 1982 showing
the synths away from the main synth setup:
http://www.nemostudios.co.uk/nemo/sections/br/gallery/Nemo-Sound-3b.jpg
http://www.nemostudios.co.uk/nemo/sections/br/gallery/Nemo-Sound-8b.jpg
While these are not clear photos, one can see a Mini Moog synth, a
small one-octave synthesiser (RSF Kobol Blackbox), and an old Roland
sequencer CSQ-100. Were these here for making sounds? Or served for
some other purpose ?
2- Next to the big Yamaha CS-80, there was also its smaller sister
Yamaha CS40M. Here's a photo of the CS40M hiding behind Vangelis:
http://www.nemostudios.co.uk/nemo/tour/recording/gallery/1981-2.jpg
In some cases this synth can produce sounds similar (but not exactly)
to a CS-80, so I was wondering how often this synthesiser was used,
and if it was used at all on Blade Runner? I know it was part of the
Blade Runner setup but not sure if it was used.
3 - You mentioned in a previous posts that Vangelis starts recording
for film without rehearsals or preparations, and a recording may last
for 10-30 minutes. I was wondering were there any risk of tape running
over? Were there measures for example to set the speed of the multi-
track tape to half speed.
4 - Was dbx Noise Reduction always activated for the Lyrec multi-track
tape?
5 - Was Dolby NR A used for the master tapes (Ampex ATR-100) or could
you go on producing a master tape without Dolby A.. Do you recall if
Dolby A was employed for Blade Runner?
Hope my questions here are not too overwhelming and I realise it is
not easy to remember so far back, and as always thank you Raine for
your help.
cheers
oceans
Raine Hilson
I was indignant that I was being told off for bad netiquette when
all I'm trying to do is answer questions - with a bit of humour and
most def. not stoned - I was rattled at being got at -
Cheers
Raine
"Mr. Helpful" <he...@itsme.com> wrote in message
news:6gql569drftd605js...@4ax.com...
Raine Hilson
Mixing and Mastering are two separate things -
Mixing was done at Nemo Studios and the finished 2 track or
4 track tapes are then Mastered somewhere else in preparation
for vinyl or CD -
As far as I remember - there were no effects, eq's or toys of any
description added to the overall Mix unlike several mixes I did
later for different producers -
The lexicon was the only reverb used on virtually everything that
was recorded and there were very few if any toys that I can remember,
by toys I mean outboard equipment that Vangelis used at all.
In hindsight - If I had had more knowledge of compressors, eq's and
other toys - I would have tried to persuade Vangelis to use some.
I remember Ridley Scott coming to the studio a few times and I was
so young, I didn't realise how amazing this man was/is - he was just
normal and talented - he brought the Snake Girl once to the studio
and I remember her laugh which was very loud ! So no different
really from any other visitors which used to hang out - I used to really
zone them out as I focussed on recording and Vangelis so can't really
remember too much about the visits.
Ridley and Vangelis used to tease me alot as I thought Rutger Hauer
was be-au-ti-ful and they kept telling me that I'd meet him when we
went to Twickenham or Pinewood Studios - but I never did :-(
Cheers
Raine
"Jorge" <jorge...@hotmail.com> wrote in message
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