Regarding Elliot Goldenthal

[Thedus]

This goes out to those who have far more musical knowledge and background than I.

How does Elliot Goldenthal achieve his trademark "growl" in his music.  It's obviously created by an instrument in the orchestra, but I can't figure out which.  I'd guess it had to be either a string or wind instrument... but that's as far as I can get.

Anyone know?

[Sebastian]

Hmm.. I'm not sure what you mean, can you post an example to a track of his?

[Mr. Domino]

I could probably tell you if I knew exactly to what you were referring. Perhaps you could post a timestamp to a track?

[Thedus]

Que this one up to 2:49
<a href="http://www.youtube.com/watch?v=KUY5pCWR7a0" target="_blank">http://www.youtube.com/watch?v=KUY5pCWR7a0</a>

And there is a lesser version at 0:26 in this one.
<a href="http://www.youtube.com/watch?v=ecUh7rm_-O0" target="_blank">http://www.youtube.com/watch?v=ecUh7rm_-O0</a>

In nearly every film Elliot Goldenthal scores he includes this rumbling growl... for lack of a better word.  Sometimes I think it's brass, others I think it's strings.

Anyone know for sure?

[Sebastian]

It's definitely some kind of brass instrument! I think.

[xeno_alpha]

I've been informed that it's a brass instrument which has been synthesized.  Trying to comfirm it...

If you're a fan of Goldenthal's abundant non-conventional use of orchestral instruments, such as the pitch-defying whines of the brass, and can actually sit through the relentless barrage of pounding in the "Wreckage and Rape" cue, then Alien 3 is indeed a fascinating study. That technique with the wavering brass, heard throughout several of Goldenthal's scores, is somewhat of a symbol of the composer's break from the norm...

From filmtracks.com

[Kaneda]

How does Elliot Goldenthal achieve his trademark "growl" in his music. 

From what I recall, my brother says it's just the brass section going balls to the wall. He seems to love it, as he plays brass section in an orchestra.

I know it's the primary reason why I hate his scores so much because he overuses it. That and his scores tend to be bland, anyway (Alien 3 aside, of course).

[xeno_alpha]

Elliot also scored the movie Titus and features a sort of remix version of the Wreckage and Rape track, Click Here  If your familiar with the tune you'll know what i mean.

[Mr. Domino]

The one in Agnus Dei is definitely synthesized - some kind of sawtooth channel. The one in the first attack is a little less distinctive, but I feel reasonably sure its the same thing.

[Thedus]

The one in Agnus Dei is definitely synthesized - some kind of sawtooth channel. The one in the first attack is a little less distinctive, but I feel reasonably sure its the same thing.

Interesting.  And here I thought that it was created by the orchestra as is, as opposed to a post production/mixing effect.

OOC: what is a sawtooth channel?  I know it's a type of filter, and I've heard of it for years, I just never understood what its.  Is it a type of compression?

I know it's the primary reason why I hate his scores so much because he overuses it. That and his scores tend to be bland, anyway (Alien 3 aside, of course).

Personally, I love Goldenthall's work, and it's this particular element of his music that first caught my attention and got me into his work.

[SM]

Clicky

[Mr. Domino]

Yeah, as the linkpage explains, a sawtooth just refers to the shape of the soundwave. Square, Sawtooth, and Sine waves are the three most common basic forms for sound, at least for electronics (as far as I know, at least).

[Thedus]

Clicky

Yeah, as the linkpage explains, a sawtooth just refers to the shape of the soundwave. Square, Sawtooth, and Sine waves are the three most common basic forms for sound, at least for electronics (as far as I know, at least).

Thanks, guys.

[SM]

If you have Adobe Audition, go Generate > Tone, then under General you can adjust the Flavor between Sine, Inv Sine, Square, and Triangle/ Sawtooth.  Square and Sawtooth add a sort of distortion.

[Zyklon]

Judging by the attack, I'd say it's definitely a brass sample (sound-track composers generally used romplers in those days, as opposed to actual synthesis) triggered at a low pitch.