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Well, that's because James Horner is just all kinds of awesome.
Ron Jones' firing was an omen.
- Thread starter blockaderunner
- Start date
If you brought up John Williams' work on Star Wars to Berman back then, he would reply "We're not STAR WARS". I think they bring it up on the blu-ray that Berman and other producers did not like the use of recurring themes or emotional music because they felt it was a cheat. They felt that the story/scenes should be good enough to bring the emotion rather than having the music tell them "this is how you should feel now". That's why recurring themes were not used a lot because they wanted to keep things ambiguous, that when Picard may be doing something heroic, maybe he's actually doing the wrong call. This Cardassian might be the bad guy, but maybe he really isn't. Then there's the fact that Berman didn't want to give viewers the impression that the show was using tracked music and that recurring themes might give that impression. Apparently he though tracked music was something horrible and would make audiences think the show was being cheap, which is why a new score was made for every episode. I guess he never watched TWIN PEAKS (I would have said TOS, but he hates TOS anyway).
There's a logic to Rick Berman's decision to be sure. But I don't think many fans agreed with him.
I also don't think very much of TNG's music (regardless of composer) comes close to TOS, including Ron Moore's. And a big part of this is the wimpy tone. The profusion of synthesizers in TV scoring in the mid 80s really cheapens things, and besides subbing real performers with unconvincing synth pads, you got a lot of new-agey chimes and tinkling Doogie Howser tones. To my modern ears, that stuff sounds like fingernails on the chalkboard.
I listened through the entire Ron Moore boxed set and a lot of it sounds like Moore noodled the score on his keyboard (with the aforementioned doogie howser tones) and then had the live musicians fill it out by playing over the melody. But you're still left with this cloying Casio-like xylophone/string combo sound running through almost every single track, including action scenes that are supposed to have some balls to them.
I also don't think very much of TNG's music (regardless of composer) comes close to TOS, including Ron Moore's. And a big part of this is the wimpy tone. The profusion of synthesizers in TV scoring in the mid 80s really cheapens things, and besides subbing real performers with unconvincing synth pads, you got a lot of new-agey chimes and tinkling Doogie Howser tones. To my modern ears, that stuff sounds like fingernails on the chalkboard.
I listened through the entire Ron Moore boxed set and a lot of it sounds like Moore noodled the score on his keyboard (with the aforementioned doogie howser tones) and then had the live musicians fill it out by playing over the melody. But you're still left with this cloying Casio-like xylophone/string combo sound running through almost every single track, including action scenes that are supposed to have some balls to them.
How about this at 0:30?
Star Trek: First Contact Teaser Trailer
Yeah, we never liked Ron Jones' music, so we put it on the teaser trailer for our TNG movie.
I think you meant Ron Jones and not Ron Moore (writer) in that statement... so many Ron's on TNG!
Last night in one of my posts about Ron Jones and Rick Berman, I kept typing Rick Jones. 
...so many Ron's on TNG!
They needed extra in case the first ones broke down.
Whenever Berman tries to talk about scores he reminds me of the buffoon in "Amadeus" who told Mozart there were "too many notes" in his music.
What are you talking about? There's nothing musical or sound effects wise going on to accompany Spock gesturing at the damage readouts.
I think I know what Ithekro's talking about, Maurice. I don't know how well it synchs up with the screen action, but there's this 4-horn burst (bwamp bwamp bwamp bwaaaaamp) right about where he means.
Exactly that. I thought it was a sound effect for years.
It was timed to underscore* Spock's pointing.
* - Interesting accidental play on words there.
* - Interesting accidental play on words there.
Yes, there is.
And it's a very nice audio/visual moment/shot where nothing exciting happens and you are still hooked.
Music for the most part in Star Trek was it's least endearing quality. Even some of the scores in the original series were annoying. The worst culprit of this was DS9, where I can't remember a single score from that series I liked. Maybe The Visitor Score, but most of it was annoying background noise.
MEANING there are no sound effects for Spock touching the screen, and the horn "blats" only very roughly and coincidentally line up with two of the gestures.
https://www.youtube.com/watch?v=LaVIIoRKBlk#t=221
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That part of the movie bugged me because the readout shows damage to areas not hit by phaser fire, such as the saucer and the opposite side of the primary hull. Did the set designers not read the storyboards?
And don't get me started on all the added damage in Star Trek III.
And don't get me started on all the added damage in Star Trek III.
So long as you think you are right.
I picked up on that right away when I finally saw that ep. I didn't know it was from Patton at first as I had heard it on The Simpsons and The Burbs first but I definitely recognized it in Jones' score for Boobytrap, which had some of the best ST music in it next to Evolution ("Double Star"). The "Leah Brahms" music ("Leah Comes To Life" and "Touch") was really sweet too.
