The Technical Aspects of a Music Collection

What does your collection look like? Are you very particular when it comes to track titles, or do you just care about what the music tags are? If you use iTunes for either your iPod or iPhone then I would expect no less for you to expect your collection to look nice and organized, but not everyone has the time to go through it all. Some of us have more than we can fit onto our mobile devices. 

Regardless, if you spend an amount of time everyday with your collection, I encourage you to organize it so that it doesn't cause more harm to your well being. I have a love/hate relationship with iTunes. Since I have an iPod, it is necessary for me to use it (I'm not particularly interested in dabbling around in third party options, though I know they exist). Regardless, I have come to enjoy and take advantage of the simplicity and powerful tools that it has to offer. 

While it may cause some headaches, others might never experience my issues. Some including sorting issues like Brian Tyler in the artist pane being at the very bottom as if it were a number, even the same composer in the composer pane appearing anywhere between 5-20 times in a row. One fix for the composer issue is to directly edit the files in iTunes, changing the composer. I feel iTunes has difficulty reading tags that it hasn't created itself. Now, a suggestion for the artist sorting, try to convert the file to another codec, OR turn on iTunes sorting which copies everything you drag-and-drop in the iTunes Media folder so that iTunes can automatically organize it all. 

Anyway, there are some tips. If you are having issues with iTunes, send me a message and I might just be able to help, or you could hit the Apple Support forums. 

Recently I started a thread that asked users how they managed their collection. Many use third party players, others said they are very interested in editing everything from tags down to the file names. Some were set on perfectly square album art (which is not at all unreasonable), others didn't really care too much about all that. Audiophiles I feel are more concerned with the quality of their collection, but then again some are but are not so obsessed with having everything in FLAC. 

Is it time for some spring cleaning in your collection? Even if it is 5 albums a day, or 10 each Saturday, I would say that this is progress. I do suggest allowing iTunes to manage the files automatically if you use it the most, but the sorting and tags are all on you. 

The Greatest Instrument: One to Rule them All

There are some amazing sounds that can be produced through instruments. Some are very unique and interesting. Hans Zimmer, to name one, is excellent at manipulating the instruments to get a specific sound that he wants. While I cannot say that I have a favorite instrument, I always find that I enjoy the strings in general above all. A great bass and brass section is also an excellent pair that I enjoy, but the strings have always captured my attention.

Despite all of this, there is but one specific sound that I love above all else. It is a more natural sound: the human voice. There is nothing like a good choir, but to break it down even further, I have grown to love the female voice. I am always at awe when both male and female can have such accurate pitch. It is the most extraordinary sound. Listening to The London Voices in several scores has been a treat.

The male voice has such a great depth and can reach incredible lows and sound very bold and strong. A young boys choir can be more lighthearted, pure, and innocent. Still, I believe that nothing is quite like the sound of the female voice. They can reach startling highs while still maintaining remarkable control over their voice. I am not a huge fan of opera, as sometimes it annoys me. Some of the most impressive displays of this beautiful sound have been found in music from Really Slow Motion and The London Voices, to name two that come to mind.

I have a copy of Handel's Messiah at hand that I have really appreciated hearing recently due to the stellar performance of a range of voices from both male and female. A high quality copy of this concert piece is a highly recommended classic from this amazingly gifted composer.

Do you agree? What are some of your favorite instruments?

Presently the Past in Battlefield 1

Battlefield 1 is an impressive masterpiece from EA. This beautiful, cinematic game that offers an amazing and unforgettable experience that is both visually and audibly stunning. EA selected a new set of composers this time around in order to get away from the modern electronic scores produced for Battlefield 3 and 4. Ultimately, this allowed them to return to their early roots in the series in terms of sound, which was much needed for this game since it goes several years into the past. 

The explosive opening sequence gives the player a sense of loss, offering them a realistic view of the "war to end all wars" where both sides experienced countless casualties. 

I was pleasantly surprised to hear the return of the well-known Battlefield theme, bringing roots from the original appearance allowing us to hear it in a way that it hasn't been played in several years. Yes, Battlefield wouldn't be the same without that old tune (and it seems they will never omit it), but I almost didn't expect to hear it this time (what was I thinking?). It is such a rewarding experience to hear it come up each time throughout the series. Throughout several different variations, I definitely find that the London Philharmonic's performance of the theme in The Greatest Videogame Music is by far my favorite. 

The Battlefiled 1 score overall brings back those classic fps vibes from the early days when Call of Duty 1 was still a thing to be reckoned with. Coupled with the graphical enhancements of the modern age, this game almost feels like they remastered an all-time favorite, bringing with it renewed excitement. 

Whether you have played this game or not, I highly encourage you to check it out. If you are a film score enthusiast, this might just please you as it did me. The line between film and game music is being blurred as scripts become more complex and captivating. 

Greatest Game Music of 2016

There are several games that have been released this year. My favorite would definitely be Nathan Drake's last adventure found in Uncharted 4. Henry Jackman created an incredibly moving score that perfectly matched the equally moving, character-driven story. While there are several scores to choose from and such a large audience, it is truly impossible to create a master list.

To start, the DOOM reboot has had significant praise, listed as number 10 on Factmag. While this horror game is bloody and disgusting, I would never dream of playing it. After a listen, I can't stand it and must say that it is terrible, so it will not be making my list.

I thought that Stardew Valley made a much bigger impact on me. It was simple, mesmerizing, and fun. The album doesn't disappoint in terms of length, featuring over 2 hours of music across 70 tracks. I would agree with the placement of this title.

I find that I agree completely with Andrew's list over at ClassicFM.com. He mentions excellent scores, from Ramin Djawadi's surprisingly effective score for Gears of War 4, to the exquisite, complex masterpieces heard in Final Fantasy XV. The moving strings from The Last Guardian and Austin Wintory's surreal and atmospheric work on ABZÛ. Being the superior list, I recommend you visit it so see what Andrew has already written. He also included some videos in his list as well as samples of music from each pick.

Chris Remo's score for the indie title Firewatch is another one worth recognizing, one that I have actually written about earlier this year. Also Gears of War 4 by Ramin Djawadi is probably one of my favorites from the series and from Djawadi in general. There are many 4th-iteration games out, most of them have better music than their predecessors (i.e. Uncharted 4, Fallout 4, Gears of War 4 to name the ones that come to mind). While there has been countless game releases, I must say that I have listened to less than half of those released so far.

I must say that out of all these, The Last Guardian is one of the best game scores that I have heard. It is just astounding as to how good it is. Coming from what I believe is a Japanese composer, I almost expected this. Those composers over in Japan have a beautiful way of incorporating captivating themes that sound very classical, but still maintain a slight modern ring to them. The Last Guardian does not disappoint.

This year is not yet over, but when it eventually will be we are surely in for a good ride. 2017 will be an excellent year for music, both game, film, and trailer. In the meantime, Merry Christmas eve, eve!

Not That Again!

Do you have a song that you fell in love with that you almost hate now because repeat killed it? Most likely it is the main theme from a film or game. Trailer music can do this as well, but slightly easier than film or game music.

I cannot say that I have a song or album that I can't stand anymore because I purposely create variety in what I listen to. But when you encounter that "this is so epic, I can't imagine life without this" song, you are hopelessly repeating it over and over. Does it ever get boring?

This happens sometimes to me, mostly with trailer music. When I first started getting interested in soundtracks I would play only the main themes from albums instead of taking each album in as a whole. This does increase the longevity of your music, but at the same time there isn't anything wrong with listening to just the themes.

I haven't encountered the issue in a while because of my vast library. I bounce from trailer music, to game, then to film, and repeat. After all, music that fits your mood is much more enjoyable, right? Audiomachine and Two Steps From Hell for physical work to push through the pain, Alexandre Desplat and/or John Williams for a relaxing weekend, or maybe a long drive with exciting game music.

One thing that I noticed when I was using my 3 months of Apple Music was that I really missed my personal library. Those 3 months were spent catching up on all the newest releases and artist discovery. I stayed away from albums I already owned. I know what albums I have and I know which ones to match with my current mood. I was actually excited to end the trial and come "home" again, even though I had listened to an album a few hundred times.

Still, nothing beats the experience of listening to a new score that you haven't heard before. What do you think? Are you attached to your library as I am with mine? Do you find a song or album tedious due to constant playback?

Divide by Chris Tilton

Divide is a new game that will be arriving on January 31, 2016 exclusively for the PlayStation 4. I do not want to go into too much detail to promote the game since my goal is the music, but I can say that the game looks very intriguing. You can learn more at the PlayStation Blog.

While Chris Tilton has been composing for many years, I only just discovered his music when I first heard the score from Assassin's Creed Unity. I instantly fell in love with it. It is definitely one of the best game scores I have listened to. You can hear his music from Volume 1 of the score. I felt that Ryan Amon (the Bonus Tracks) and Sarah Schachner (Volume 2) did an excellent job, but it easy to say that Chris Tilton's Volume 1 is easily far superior.

The EP for Divide is out and ready to listen to. If you are subscribed to a streaming service, I highly recommend you look for it (I guarantee it is available to you). If you enjoy it, it can be purchased through Bandcamp, which will allow you to access a lossless copy of the music. It is currently $2.99.

The Divide EP is also available on Bandcamp if you prefer some hi-res audio - https://t.co/fQRNln3Cb7

— Chris Tilton (@christilton) December 8, 2016

In Tilton's new score for Divide, you definitely get the same feel and similar sound from Assassin's Creed Unity. Unfortunately this is an EP which is very short. I am hoping, along with others I would expect, that we will eventually see a regular release of the score that is more full of content. As of this time I have not found anything that points to a release of this kind.

Let me know what you think of this score in the comments. Are you hoping for an extended version as well?

The Return of... Alice: Through The Looking Glass

   What is your favorite kind of music? Do you prefer the lighthearted Randy Newman, intense Brian Tyler or Hans Zimmer, classical John Williams, or maybe the strange and bizarre Danny Elfman? These are obviously just a few of the thousands of gifted and noteworthy composers out there. I cannot say for certain which type I am most inclined to listen to, I hear it all! There are times where I feel in the mood for a specific kind of music, but how does one go about discovering that type of music? There are several services out there that offer mood-based radio, but I'm not a big fan because they mix all genres instead of isolating scores.

   What genre is your favorite? Are you a soundtrack/score aficionado, or are you a mix of a bunch of genres? My family does not understand why I don't like their "preferred" music, which mostly includes classic rock from the 80's. I have a wide range of music appreciation and interest, but it all lies in the orchestral genres, covering games, films, trailers, etc. even classical music. Whatever kind of music you love wholeheartedly, don't let anyone convince you otherwise. I still have a mixed opinion of rock, but if that is what you love, nothing can change that except for experiences and time. 

   Now, let me get back to the topic for today, which was...

   Alice: Through The Looking Glass did not do so well opening week. I wasn't sure what to think of the film initially since it seemed like a bit of Déjà vu with recurring themes of "Where have you been Alice, it's been a long time?" from the previous film. Regardless, I have not seen it, therefore I cannot give an accurate review, but I can attest to the fact that the score is far superior to the first. This usually doesn't happen, especially in the case of John Powell's How To Train Your Dragon. The first blew us away, and while the second is excellent and consistent with the series, it did not come close to the original. 

   Danny Elfman's new score is interesting, bizarre, and similar enough to the first in order to continue the main theme and overall feel. Alice's theme is nearly unchanged and the instruments remain the same (take note of the organ in the theme), but there are more interesting themes and sections that I found to be much more interesting.