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Old Dec 11, 2010, 06:28 PM
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mercenary09 mercenary09 is offline
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Should 35&36 be left as is?
I think the 'vocal/performance' are by The Peanuts and Youko Kon ?( ) & Pinky & The Killers.
It's only shown next to the song title in the booklet and gives no usual sung/sang/anything that it was performed in credits.
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Old Dec 12, 2010, 02:59 AM
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Thanks for noticing. I removed Yoko Kon since she's the "Pinky" in "Pinky & Killers".

Last edited by AcidBeast; Dec 12, 2010 at 03:08 AM.
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Old Dec 12, 2010, 10:13 AM
Xenofan 29A Xenofan 29A is offline
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Several other composer/arranger credits, such as Fernando Sor, should be made featured. Is this impossible without a composer page to link to?
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Old Dec 12, 2010, 11:42 AM
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Well, he's marked as featured but as long as there is no artist's profile to link to he won't appear "blue".
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Old Apr 26, 2011, 08:49 AM
Xenofan 29A Xenofan 29A is offline
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Honestly, this release is one of the worst-sounding modern orchestral recordings I've ever heard. So muddy, so much artificial leveling. Doesn't anyone else have a problem with it?
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Old Apr 26, 2011, 10:11 AM
Boco Boco is offline
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Nope. Sounds fantastic to me. It's not one of the best orchestral recordings I've heard, but I'd rank it as "above average" or even "good". Especially in relation to most anime and video game orchestral recordings.
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Old Apr 28, 2011, 07:42 AM
Xenofan 29A Xenofan 29A is offline
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Just to make sure, we're both talking about the sound quality, right? Not the performance, arrangement/orchestration, or the composition. (Although I have problems with those as well.) "In My Spirit" seems to me the worst affected. Can you really hear much of anything distinctly at the loud parts? The solo piano tracks are another problem; they are so absurdly amplified that the harmonics are much louder than they should be, and the recording feels unnaturally separated, as if two pianos were recorded at separate times and then spliced together.
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Old Apr 28, 2011, 11:04 PM
Boco Boco is offline
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Yeah, sound quality seems fine to me. It's quite a bit clearer than most of Sagisu's TV recordings and has a distinctly Zimmer feel in how the sequenced parts are mixed into the live recordings.

As for "In My Spirit", I can hear all the parts very clearly. The lyrics are a little challenging to make out, but I always have a hard time with that. I'd say that the strings, wood winds, brass, percussion, and choir are well balanced and create unified sound while still allowing individual parts to shine where needed. Piano tracks sounded pretty standard overall. Nothing in particular that I would complain about.

I dunno. It's definitely not a perfect production, but I don't hear anything offensive in terms of sound quality.

EDIT: To be slightly more specific, I'd say that both the Evangelion S2 Works and Symphonic Evangelion had far more significant sound quality issues. I hate to make comparisons like that though, because much of the S2 Works was done on a TV budget and Symphonic Evangelion was a live performance. It just wouldn't make any sense for them to fare better than a studio recording for a motion picture. That's just my perception, but I'd say that this soundtrack has a very modern and clean sound.

Last edited by Boco; Apr 28, 2011 at 11:15 PM.
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Old Apr 29, 2011, 08:29 AM
Xenofan 29A Xenofan 29A is offline
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The recordings for the TV show were done with a much smaller group, and have a generally thinner sound. On top of that, the performance quality is lower. I'd say they shouldn't really be compared, though. I'd rather compare this soundtrack to that of the first new movie, which was performed by the same group.

In "In My Spirit," listen to the chimes that come in at the beginning of every two measures. The first few times you can hear them fine, but when the brass enters, they become near inaudible, despite the volume not changing signifiantly (trust me, they're still there throughout). Once the choir comes in, the whole thing sounds very strained. You say that it "still allows individual parts to shine where needed," but the problem is that parts that should be heard throughout drop out and fade, and the whole thing sounds strained.

Go back to the score for the first movie, to a cue like "Angel of Doom" (which admittedly uses slightly smaller forces), and you can hear the difference. The volume levels seem much more natural, and the mix not as crushed.

Edit: Oh, and just so I don't come across as argumentative, if you're fine with the way it sounds, good for you. I'm just wondering whether or not other people had the same experiences I did, that's all.

Last edited by Xenofan 29A; Apr 29, 2011 at 08:39 AM.
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Old Apr 29, 2011, 11:08 AM
Boco Boco is offline
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Yeah, no worries. I hadn't noticed any problems with the sound quality so I was surprised that you felt there were so many issues. Even on something as basic as sound quality there are still very diverse opinions. I find that fascinating.

"Angel of Doom" does feel much thinner and more transparent. I think part of that is arrangement / orchestration which isn't as dense as "In My Spirit". It does thicken up a little during the last minute or so, but to me it still sounds comparable in terms of sound quality to "In My Spirit". I suppose maybe just a slightly better mix, but it is easier to get a good mix with less sound and there's a lot of volume and activity throughout "In My Spirit".

You're right about the bell. When the choir comes in it does get buried. I can still hear it though and it's more of a supporting element. This is just pure speculation, but based on its timbre and role, I would assume that the only way to keep it prominent in the mix would be to crank the volume during mixing. To me that wouldn't make much sense as by the time the choir comes in, our focus should be on the choir supported by the strings and trumpet. At that point the bell is just fluff for the overall soundscape. That's just my perception though. Maybe it should be a little clearer and they did mess up.

I'll pay more attention to the piano tracks the next time I listen to the soundtrack and see if I notice anything new.

EDIT: On a random side note, I noticed you own many of the Evangelion CDs. Are you a fan of Sagisu or just the Evangelion franchise? I ask because I don't know many people who are fans of Sagisu, but I just love his stuff. I don't know exactly what it is, but he just resonates with me. There's something about his music that's very simple and efficient while still being highly effective in context and worthwhile to listen to.

Last edited by Boco; Apr 29, 2011 at 11:12 AM.
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Old Apr 29, 2011, 01:04 PM
Xenofan 29A Xenofan 29A is offline
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In the best orchestral mixes, elements with very different timbres, especially percussion, can be heard at all times. So while different woodwinds can blend into each other, a chime produces a unique resonance that should be consistently audible, even if it is quiet. As you say, its role is background, even at the beginning, but it does bring out what I consider the faults in the mix.

The thinner quality of "Angel of Doom" is indeed related more to the arrangement than anything else. There are no woodwinds and not as many overdubs for percussion and brass, but I think the similar style made for a good comparison.

I am a fan of Sagisu's music, but not unreservedly. I'm a huge fan of Evangelion, though, and I think that the series has, for one reason or another, drawn out some of his best work. While sometimes he writes cues that I don't care for at all, at times the straightforward nature of his style works well. In addition to Evangelion, I've heard his music for Nadia and Karekano. I like the latter a good deal and was pleased to hear some of those tracks reused in this score.
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Old Nov 25, 2011, 03:53 PM
Armitage Armitage is offline
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In track 33 is a choir and you can clearly hear different voices.
That should be stated somehow at the albums bottom "info area".

And partly sounds this album like a school band decided to make some music.
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Old Dec 13, 2011, 11:10 AM
Xenofan 29A Xenofan 29A is offline
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Originally Posted by Armitage View Post
And partly sounds this album like a school band decided to make some music.
The performances are fine, but the amount of compression applied post-recording made the whole thing sound like utter crap.
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Old Dec 12, 2013, 03:56 AM
Paul Coddington Paul Coddington is offline
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I agree, the sound is somewhat harsh and ringing on this one. Hurts the ears on the shrill parts when played at live levels.

I am thinking this credit is in error:

17. Additional performer: Narciso Yepes

As he is a guitarist, it would seem more likely he is performing track 18.
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Old Dec 12, 2013, 03:58 AM
Paul Coddington Paul Coddington is offline
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BTW Is the 杉並児童合唱団 (Suginami Jidō Gasshō-dan; Suginami Children's Choir) an alternative or previously used name for the 杉並少年少女合唱団 (Suginami Shōnen Shōjo Gasshō-dan; Suginami Boys Girls Choir) or are they different groups?

I am wondering if they used the same group in Nadia (Blue Water) but the name has changed in the intervening years? Obviously not the same kids, of course!
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Old Oct 19, 2017, 03:11 PM
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Oniros Oniros is offline
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Should this be listed separately since it's missing some tracks?
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Old Oct 20, 2017, 01:28 AM
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I think the consensus is that digital reprints only warrant a separate entry if there are additional tracks.
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Old Nov 18, 2020, 06:33 AM
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Robin Robin is offline
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For maniacs like me, and if you use MusicBee's Multiple Artist Splitter for performers like i do, here are the accurately formated performers list:

Shiro SAGISU: Arranger
Shiro SAGISU: Keyboards
Shiro SAGISU: Programming

The London Studio Orchestra: Orchestra

Perry Montague-Mason: Violin (Leader)
Warren Zielinski: Violin (Principal 2nd)
Patrick Kiernan: Violin
Emlyn Singleton: Violin
Boguslaw Kostecki: Violin
Chris Tombling: Violin
Chris Clad: Violin
Dermot Crehan: Violin
Tom Pigott-Smith: Violin
Pete Hanson: Violin
Rita Manning: Violin
Steve Morris: Violin
Cathy Thompson: Violin
Dave Woodcock: Violin
Mark Berrow: Violin
Dai Emanuel: Violin
Everton Nelson: Violin
Maciej Rakowski: Violin
Jonathan Rees: Violin
Liz Edwards: Violin
Philippa Ibbotson: Violin
Emil Chakalov: Violin
Jim McLeod: Violin
Tom Bowes: Violin

Peter Lale: Viola (Princial)
Bruce White: Viola
Tim Grant: Viola
Chris Pitsillides: Viola
Vicci Wardman: Viola
Andy Parker: Viola
Bob Smissen: Viola
Gustav Clarkson: Viola

Anthony Pleeth: Cello (Principal)
Martin Loveday: Cello
Dave Daniels: Cello
John Heley: Cello
Caroline Dale: Cello
Chris Worsey: Cello
Frank Schaefer: Cello
Nick Cooper: Cello
Tony Hinnigan: Cello

Chris Laurence: Bass (Principal)
Allen Walley: BassSteve Mair: Bass
Paddy Lannigan: Bass

Anthony Pleeth: Cello Solo

Jonathan Snowden: Flute
Jonathan Snowden: Piccolo
Anna Noakes: Flute
Anna Noakes: Piccolo

David Theodore: Oboe
Nick Bucknall: Clarinet
David Fuest: Clarinet
Dick Skinner: Bassoon
Richard Watkins: French Horn
Martin Owen: French Horn
Laurence Davies: French Horn
Jim Rattigan: French Horn
Maurice Murphy: Trumpet
Andy Crowley: Trumpet
John Barclay: Trumpet
Richard Edwards: Trombone
Andy Wood: Trombone
Dave Stewart: Bass Trombone
Owen  SladeTuba
Bill Lockhart: Percussion
Stephen Henderson: Percussion
Frank Ricotti: Percussion
Gary Kettel: Percussion

Catherine Bott: Soprano
Deborah Miles-Johnson: Mezzo Soprano
Deborah Miles-Johnson: Alto
Andrew Busher: Tenor
Michael George: Bass

Eric Miyashiro: Trumpet Solo
Steve Sidwell: Trumpet Solo
Kohji Nishimura Section: Additional Trumpets
Yoichi Murata Section: Additional Trombones
Osamu Koike: All Saxophones
Naoto: Violin Solo
Daisuke Kadowaki: Additional Violins
Daisuke Kadowaki: Violas
Yuko Mizorogi: Additional Flute
Tomoyuki Asakawa: Harp

Junko Miyagi: Piano
Junko Miyagi: Rhodes
Makoto Kuriya: Piano
Makoto Kuriya: Rhodes
Ken Shima: Piano
Ken Shima: Rhodes
Yasuharu Nakanishi: Piano
Yasuharu Nakanishi: Hammond
Tsuyoshi Kon: Guitar
Makoto Matsushita: Guitar
Andrew Smith: Guitar
Gregg Lee: Bass
Akira Okazawa: Bass
Hideki Matsubara: Bass
Jerry Brown: Bass
Hideo Yamaki: Drums
Yuichi Togashiki: Drums
Jerry Brown: Drums
Nobu Saito: Latin Percussions
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