Landmark Productions: Vangelis – Blade Runner soundtrack

[Waterfall-K]

Παρακατω ενα review του soundtrack της ταινιας Blade Runner που ανεβηκε πριν δυο μερες στο www.musictech.net, ενα site που ανηκει στο MusicTech magazine. Το συγκεκριμενο review ειναι το 9ο της σειρας "Landmark Productions". Καποια απο τα παλιοτερα θεματα της σειρας: "Brian Eno – Another Green World", "Joy Division – Unknown Pleasures", "David Bowie – Low" κ.α.

 

Το review εγινε με την βοηθεια του www.NemoStudios.co.uk πανω σε τεχνικα θεματα της ηχογραφησης, του synth setup κλπ. Οι φωτογραφιες του Nemo Studio (οι οποιες δεν υπηρχαν στο review) επεξεργαστηκαν και προστεθηκαν απο μενα, οπως και τα βιντεο. Αυτο το review ειναι και μια καλη ευκαιρια για ενα φωτογραφικο αφιερωμα στο θρυλικο Nemo Studio, με φωτογραφιες που πολλοι δεν εχουν ξαναδει.

 

Landmark Productions:

Vangelis – Blade Runner soundtrack

 

 

Ridley Scott’s undisputed work of cinematic genius "Blade Runner" had an equally impressive soundtrack, created by Greek synth-supremo Vangelis. Andy Price looks back (or rather forwards) at this beautiful score…

 

Engineer: Raine Shine

Producer: Vangelis

 

Tracks

01 Blade Runner (Main Titles)

02 Blush Response

03 Wait For Me

04 Rachel’s Song

05 Love Theme

06 One More Kiss, Dear

07 Blade Runner Blues

08 Memories Of Green

09 Tales Of the Future

10 Damask Rose

11 Blade Runner (End Titles)

12: Tears In Rain

 

Several further tracks were included on the "Blade Runner Trilogy, 25th Anniversary" 3-CD version of the soundtrack.

 

 

Often regarded as one of the greatest science-fiction movies (and, indeed, one of the greatest movies) of all time, Ridley Scott’s "Blade Runner" broke new ground on its release back in 1982. Initially a slow-burner, the film grew in popularity over the next decade with the advent of home video.

 

Its dystopian vision of a dark, smoky, neon-lit Los Angeles of 2019 was at the time a radical departure from the usual Metropolis-like take on how a city of the future should look. But the hugely impressive visual effects (all the more impressive when you consider this was still the pre-CG early 80s) painted only half the picture.

 

The film’s sumptuous, synth-tacular soundtrack was painstakingly and passionately created, performed and produced almost single-handedly by mighty Greek keyboard-lord Vangelis.

The use of the synthesizer in film soundtracks by the early 80s was nothing particularly new, especially in the science fiction genre (Stanley Kubrick’s "A Clockwork Orange" featured composer Wendy Carlos re-arranging classical pieces).

 

However an all-synth soundtrack was still a new idea, sneered upon by many ‘serious’ composers who believed that the synthesizer could never truly capture the same level of emotion and humanity that traditional orchestral scores were capable of.

 

 

However, one man was so to prove them quite wrong. Vangelis’ acclaimed "Chariots Of Fire" score was a magnificent, uplifting piece of work that featured massive, engagingly anthemic melodies, all of which were produced electronically. Winning an Oscar for his work was the final say on the debate as to whether a truly great score could be generated without an orchestra.

 

Ridley Scott approached Vangelis shortly after this success and asked him to score his new Phillip K. Dick-inspired science fiction movie after previously working together briefly on a perfume commercial.

 

At the point when Vangelis was introduced to the project a temp score was in place over a rough cut of the film; this gave Vangelis an idea of what Scott was looking for musically. Vangelis enthusiastically agreed.

 

Working Methods

 

Work began on the soundtrack at Vangelis’ private recording studio, Nemo Studios, in Marylebone, London. He sought the aid of just one studio engineer, Raine Shine, who would operate tape machines and help with the general mixing and video playback.

 

Dolby Stereo engineers had installed noise-reduction units that helped in transferring the 4-track mixes to the 1/4" tape required and also confirmed that the instruments and equipment Vangelis used would be compatible.

 

 

Typically, Vangelis would receive VHS tapes of a daily scene straight from the editing room, with just the dialogue audio and no extraneous sound effects or temp scoring. He positioned screens around the studio so that whichever synth he was working with, he could see the onscreen events and sync his music accordingly.

 

Vangelis utilised the Yamaha CS80 to generate the incredible opening credits, applying the CS80’s pitchbend using its ribbon controller. The CS80 also gave control over each note’s power and depth via the polyphonic aftertouch feature. This synth was used throughout the Blade Runner score and became known as something of a signature instrument.

 

Also were used the Roland VP330 VocoderPlus and, on occasion, a Fender Rhodes, through which Vangelis crafted the more traditional-sounding pieces. The many low drones, hums and resonant builds were generated by a Sequential Circuits Prophet 10; rhythmic sounds were crafted on a Yamaha GS1.

 

 

Vangelis evoked 2019 LA with a sense of great distance and space by running all his instruments through a Lexicon 224 digital reverb; for the compositions and cues that relied on pulsation he set up several Roland synthesizers and sequencers, which allowed him to run the tracks through each one and edit, transpose and adjust filters as he played.

 

Among his Roland line-up were the ProMars CompuPhonic and Jupiter 4; sequencers included the CSQ-600 and System 104. The studio setup was quite straightforward. With one control room and one live room, the main control room also served as the primary composing room – Vangelis thought of the mixing desk and outboard equipment as a further extension of his musical instruments and he incorporated their use while coming up with ideas.

 

Vangelis used two 750-Watt Tannoy Dreadnought monitors. When he was creating the various themes for the film Vangelis would naturally compose, improvise and record his pieces as the scenes were being played before him, letting the visuals and tone of the scene direct his musical progressions without prior rehearsal.

 

He also took the rather unorthodox approach of creating not just music, but sprinkling additional electronic ambience onto Ridley Scott’s visuals. For example, during the opening establishing scenes of the dystopian cityscape he added elevating sounds as one of the flying ‘Spinner’ cars approaches the screen.

 

 

This natural, unrehearsed reactionary creative interpretation of what the composer was seeing was unprecedented, but certainly worked to great effect in a film that thematically deals with the conflict between humanity and electronically duplicated entities.

 

The best example of this is during the initial scene between Rachael Tyrell (Sean Young) and Rick Deckard (Harrison Ford), where Vangelis alters the moods, texture and attack of each subtle melody he plays depending on each character’s emotions, fears and status within the scene; this musical journey ultimately resolves into the film’s main Love Theme, which incorporates some additional saxophone performed by Dick Morrissey.

 

 

Tears In Rain

 

The film’s finest moment – the ‘death’ of antagonistic replicant Batty (Rutger Hauer) – allowed Vangelis to musically choose a moral stance on the film’s main thematic issue. As Batty realises that his film-long quest to prolong his life has been fruitless and he is about to die, Vangelis employs a sad and sympathetic theme to underscore his passing, bringing out the humanity and spiritual anguish faced by this synthetic character.

 

Vangelis’ use of sounds that resemble violin strings, metallic pianos and freakily deformed bells seems to evoke some kind of alternate, robotic past – perhaps his intention was to imply replicant-emotion, or an attempt to sound ‘normal’ (much as the Replicants of Ridley Scott’s film attempt to blend into their human-populated surroundings). Whatever the intention, the effect is profoundly integral to the film’s thematic power.

 

The number of overdubs and re-takes was kept to an absolute minimum to avoid track degradation and because Vangelis considered the first take to be ‘truer’ and more natural – even if it contained mistakes. Although Vangelis generally preferred to work alone he did enlist some outside help on occasion.

 

 

For the track "Dr. Tyrell's Death", for example, Vangelis called on the services of the English Chamber Choir to create the ethereal and angelic texture; Greek vocal powerhouse Demis Roussos adds vocals to the track "Tales Of The Future". But, aside from the aforementioned saxophoning of Dick Morrissey, all of the instrumental parts were played solely by Vangelis.

 

Work was completed on the soundtrack in April 1982; post-production of the film continued until it saw its release on 9 September, 1982. Perhaps one of the greatest film soundtracks of all time, Vangelis’ score for Blade Runner helped to further popularise synthesizer use and laid bare the potential of this electronic medium of expression in film.

 

http://youtu.be/v5iO2JRtqp0

 

However, it was another 12 years before the actual score was released on LP due to Vangelis withholding the rights due to a disagreement. In the liner notes for the eventual release Vangelis wrote:

 

"Finding myself unable to release these recordings at the time, it is with great pleasure that I am able to do so now. Some of the pieces contained will be known to you from the original soundtrack of the film, whilst others are appearing here for the first time. Looking back at Ridley Scott’s powerful and evocative pictures left me as stimulated as before and made the recompiling of this music, today, an enjoyable experience."

 

 

Ridley Scott famously said, "People say a good score is when you don’t notice it. I say bullshit. I’m very conscious of a good score and I’m very conscious of a bad score. And anyone who says that simply doesn’t know music."

 

Vangelis’ score for Blade Runner doesn’t ‘stand out’ as much as it seamlessly blends with the accompanying visuals and narrative to create a completely living, breathing world for the audience to absorb, though Scott’s statement is undeniably true – Vangelis’ music is an omnipresent character in Blade Runner, revealing itself through every scene and directing the turbulent and emotional journey of the audience, helping Scott paint not only his vision of the future, but arguably of what it actually means to be human. -

 

 

O εξοπλισμος του Nemo Studio τη χρονια που ηχογραφηθηκε το Blade Runner (1982) ηταν ο παρακατω:

 

Keyboards/Synths/Sequencers/Drum Machines

Yamaha CS80 •

Yamaha CS40M

Yamaha CP80 piano •

Yamaha GS1 •

Roland VP330 VocoderPlus MKI • 

Roland Jupiter 4 •

Roland SH09

Roland CR-5000 CompuRythm •

Roland ProMars CompuPhonic •

Roland CSQ-600 •

Roland CSQ-100

Roland System 100

S.C. Prophet 10 •

E-Mu Emulator •

Hammond B3

Moog MiniMoog

Fender Rhodes 88 suitcase piano •

LINN LM-1 drum computer

Simmons SDSV with drum pad suitcase

RSF Kobol Black Box

ARP Sequencer

 

(o Παπαθανασιου συνηθιζε να αγοραζει περισσοτερα απο ενα κομματια απο καποια synth μοντελα, για παραδειγμα, ειχε συνολικα 8 Yamaha CS80! Αυτο το εκανε για διαφορους λογους, ενας εκ των οποιων ηταν οτι ακομα και δυο ιδια synths μπορουσαν να διαφερουν ηχητικα μεταξυ τους)

 

Acoustic Instruments

Steinway & Sons Concert Grand Piano •

Standard Drum Kit

20" Circular Saw Blade

Bell Trees

Crotales

Gamelan

Glockenspiel

3 Hand-tuned Timpani

Koto •

Symphonic Gongs

Symphonic Snare Drum

Thunder Sheet

Tubular Bell

Vibraphone

Wind Gong

 

Recording & Mixing

Quad/Eight Pacifica (36 channel inline mixing desk)  •

DBX 216 16-channel Type I noise reduction (multitrack tapes)  •

DBX 158 8-channel Type I noise reduction (multitrack tapes)  •

Dolby A-Type noise reduction (mixdown mastering)  •

Lyrec TR 532 2-inch 24-track tape recorder •

Ampex ATR-100 quarter-inch 2-track master tape recorder •

Studer 4-track master tape recorder (hired) •

 

Reverbs & Delays

Lexicon 224 digital reverb •

Master Room spring reverb

 

Compressors & Equalisers

Klark Teknik DN-27 graphic equaliser

Klark Teknik DN-22 graphic equaliser

URei 1176-LN peak limiter

 

Microphones

AKG-414, Sennheiser, Electro-Voice

 

Monitoring

Tannoy Dreadnought Monitors

BGW 750B Amplifiers

 

• Indicates known or strongly suspected use on Blade Runner

 

[Επισκέπτης]

Nemo Studio

 

To Nemo Studio βρισκοταν στην Hampden Gurney Street στο Λονδινο, στον δευτερο οροφο ενος παλιου κτιριου το οποιο ηταν παλιοτερα σχολειο, ενω την εποχη που το νοικιασε ο Παπαθανασιου το χρησιμοποιουσαν απο ενα φωτογραφικο στουντιο σαν χωρο φωτογραφισης καταλογων μοδας και παραγωγης διαφημιστικων φιλμ.

 

Ο Παπαθανασιου εφερε συνεργεια, το "ξηλωσε" ολο και το μετετρεψε σε στουντιο ηχογραφησης. Το στουντιο ηταν χωρισμενο σε δυο μερη, στο πρωτο μερος ηταν το control room με την κονσολα, τον εξοπλισμο ηχογραφησης και το synth setup, ενω το δευτερο και μεγαλυτερο μερος ηταν διαμορφωμενο σαν live/living room στο οποιο υπηρχαν καναπεδες, πολλα ακουστικα οργανα και κρουστα, μια ξυλινη κινουμενη σκηνη, μια μεγαλη οθονη και ενας προτζεκτορας προβολης ταινιων κλπ.

 

Το στουντιο ηταν ενεργο απο το 1975 ως το 1987 και μεσα σ'αυτο ηχογραφηθηκαν κλασσικα αλμπουμς και soundtracks του ιδιου καθως και πολλα projects τριτων.

Μερικα απο αυτα: Heaven And Hell, Albedo 0.39, Spiral, China, Odes, See You Later, Chariots Of Fire, Blade Runner, Antarctica, Soil Festivities, Mask κ.α.

 

Περιττο να πουμε οτι στα μεσα των 70s, οι μουσικοι που διεθεταν προσωπικα στουντιο ηχογραφησης σε ολο τον κοσμο ηταν μετρημενοι στα δακτυλα, κι αυτο γιατι και μονο τα λειτουργικα εξοδα ενος στουντιο ηταν πολυ μεγαλα, το να φτιαξεις δε ενα τετοιο στουντιο απο την αρχη απαιτουσε τεραστια ποσα.

 

Μεσα σ'αυτα τα 12-13 χρονια λειτουργιας του στουντιο, οι αλλαγες που εγιναν στον εξοπλισμο και στη διαμορφωση του ηταν πολλες, οι ηχογραφησεις ακομα πιο πολλες. Δυστυχως το κτιριο που στεγαζε το στουντιο δεν υπαρχει πια, γκρεμιστηκε το 1987. Ακολουθει μια σειρα φωτογραφιων απο διαφορες περιοδους του στουντιο.