Three cin­e­matic synth sound­tracks

Computer Music - - Cinematic Atmospheres -

Hans Zimmer At­mo­spheric En­try

Al­though Mr Zimmer is usu­ally known for his pound­ing drums and mo­men­tous horns, he also utilises syn­the­sised tex­tures in his scores to cre­ate ten­sion and at­mos­phere. This piece from the movie In­ter­stel­lar is a great ex­am­ple of a min­i­mal sound­scape, cre­at­ing a tense back­drop to the on­screen ac­tion. Sim­ple, but most im­por­tantly, ef­fec­tive.

Cliff Martinez Rub­ber Head

Cliff Martinez pro­vided a lot of the synth-heavy mu­sic for the movie Drive. In this track, he sets the tone with an omi­nous at­mos­phere, then locks the au­di­ence in with a hyp­notic arpeg­gio. This is a great ex­am­ple of set­ting the mood with an at­mo­spheric pad, and then giv­ing the au­di­ence some­thing a lit­tle more melodic to con­cen­trate on.

Van­ge­lis Blade Run­ner

What dis­cus­sion about synths in cinema could be com­plete with­out men­tion­ing the score to Ri­d­ley Scott’s Blade Run­ner? Van­ge­lis’ lush pads and now-clas­sic synth lead cre­ate a brood­ing at­mos­phere, trans­port­ing the viewer into the dystopian fu­ture. It paved the way for many synth scores and still sounds bril­liant nearly 35 years later.

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