TIMESTAMPS 01:11 - Sampler/Samples Mike Used When He First Worked On DBZ 02:38 - Directions/Script From Funimation 04:19 - How The Guys Scored Music To The Episodes 06:28 - How The Guys Go About Composing/Time Constraints On DBZ 09:23 - Recording Sounds As SFX/Violin SFX Being Used In DBZ 11:31 - Keeping The Music Seamless Between All 3 Composers 14:45 - How Much Time They Had To Work On Each Episode 17:36 - Vegeta’s Hells Bells & Super Saiyan Themes 19:16 - Mike Only Realised Recently How Iconic His Themes Are 19:57 - Scott Thought People Hated The Score Until He Went On RU-vid 21:08 - Super Saiyan 3 Theme/Drum Loops 25:25 - Julius Approached DBZ As Just Another Job/Core Importance Of Scoring 26:44 - Scott Morgan Foresaw The Big Themes Popping Off 28:29 - Ben Kasparek The Music Editor/Save The World Episode Ben Got It Perfect 30:14 - Episodic Trunks Theme/ How The Destruction Theme Came About 33:05 - Ginyu Voice Actors Worked On DBZ Movies Music 33:36 - Recording Destruction Theme So Loud 35:11 - Pikkons Theme 36:22 - Phillip Glass 36:52 - How Mike Wrote Buu/Cell & Frieza Themes 38:16 - Buu’s Themes 41:34 - Challenge Of Scoring To Reaction Shots 42:39 - Scott Doing The Ultimate Perfect Cells Theme 43:38 - Imperfect Cell Theme 44:54 - Experimenting With The Non Big Themes 46:30 - Great Saiyaman Theme 47:17 - Space Room Theme 48:12 - Final Atonement/Serious Suspense Theme 48:55 - Coycoy88 & Other Fans Releasing Unreleased DBZ Music Through Editing Audio 52:25 - SSJ Band Performing Live Covers Of DBZ Music/How Live Gigs Came About 57:34 - Rehearsals Before Live Gigs 58:35 - Scott Has Been Mainly Doing Engineering Work Since 2005 59:35 - Scott Wrote Music For Roland & Microsoft 1:00:29 - Julius’ Forgotten Future Work 1:01:05 - Julius’ Work After DBZ 1:02:44 - Julius’ Interactive Forgotten Future Show 1:03:32 - Mike Smith Loved The Time Constraints On DBZ 1:04:27 - Julius Didn’t Like Composing 24/7 On DBZ/Julius’ Work On You Dont Mess With Zohan Film 1:05:59 - Not Writing By Committee On DBZ/John Carpenter 1:06:51 - You Have To Diversify To Earn Money In The Music Industry/Automated Mixing & Mastering 1:10:14 - Where To Follow Mike Smith, Scott Morgan, Julius Dobos & SSJ Band 1:12:09 - SSJ Live Performance Clip
You guys scored my entire childhood lol, love your work. Seriously, it's incredible to see this interview and hear about your experiences working on the show.
If anyone here hasn't checked out Julius' "Forgotten Future W1" album, you are missing out on an absolute masterpiece of the psybient genre. It's incredible.
Pikkon's theme is one of my all time favorite tracks of the american score. Radiates big "This dude is mysterious and cool, but also has the moves to back it up." energy.
It can only be included on home video releases since Funimation had a falling out with the man in court. So he has to get royalties any time it's streamed or on the air.
Some of my favorite music from the show is in the first episodes Faulconer Proudctions did: "Ginyu Assault" "Incredible Force" "Frieza Approaches" "Goku is Ginyu and Ginyu is Goku" and "Gohan! Defeat Your Dad!" ...and I have Mike Smith to thank for that! Love Pikkon's Theme, Scott! and of course SSJ3 Theme, Julius! Well done, gentlemen.
Great stuff, I like listening to some of the unreleased episodes (that Coycoy rips somehow) with SRS wow effects turned on. 228, 230 and 235 are just three of my favorites. Their music was where I first heard sounds/drum sets changing sides in my headphones, still to this day don't really hear music like what they did on Z anywhere else. Inspires me to create music of my own, but I've been without what I need to share it in the same quality they can share theirs. Fantastic podcast!
i was looking to come back to this interview last year and i just checked back in after the Ben interview. these guys are fucking legends and i'd die for them so everyone lets continue to celebrate sick synth music dragonball and the victory of earth vs majin buu and whoever poses a threat to the good vibrations of the universe
I would love for them to come back and entirely compose Dragon Ball (the original series), DBZ's Saiyan Saga and first part of Namek Saga and Dragon Ball Super. Especially DBZ movies 1-13, Battle of Gods, Resurrection F and Super Broly! Please
Pikon's theme for me is the peak of your production in DBZ OST. There are just so many layers that work together so well + the tempo is just perfect for fast paced combat. It worked so well in the Goku vs Vegeta fight in the Buu saga.
32:13 Actually, there's a little something to what Mike is saying here. Dale Kelly and Andy Baylor recorded a remix of their DBZ TV special theme with rapped lyrics which they were lobbying to be the DBZ's new theme song in America. You can find it if you look up "Dragon Ball Z Movie theme remix with lyrics". It's...really something.
Apparently Faulconer made some threats to sue Mr. Morgan for speaking about the synthesizers they used at one time. Meanwhile Kenji Yamamoto just dumped his entire sound equipment list in the CD booklets of his game soundtrack releases.
@@TheAnimatedGamer Yea he chose something interesting to dump to throw off attention from having to reveal his many sources for music that he ripped off over 20 years. (I'd say that the plagiarism count is surely more than "half", especially since anything he did that's said to be "original" isn't even noteworthy :p)
What do you mean about dump? Can you provide more context on that Yamamoto comment you made? Im not familiar at all with music production or synthesizers so couldn’t piece the 2 things together. I know he got caught for plagiarizing Dbz games music?
@@Moiz009 So he was basically the only guy working on DB game soundtracks that got to have his projects released/sold on CD. And in the accompanying booklets & packaging art, alongside credits for musicians, lyrics & liner notes (where applicable), Yamamoto would always have one extra section included where he lists all his sound equipment (like synths) in specific detail that goes beyond the usual session musician credits anywhere (brand and model name, etc). A far cry from Faulconer who wanted to keep that sort of information under wraps during the same time period. If you want to see what I mean, visit a site where the scans are hosted.
@@gespenst1329 oh I see. Thanks for the explanation. Do you think based on him including the information in the CDs, maybe his intent wasn’t to plagiarize and he shouldn’t have been cancelled?
I wonder if they’d be interested in redoing episode 1-66. I’m also curious of what they’d come up with if they had more time but using those same tools
Who knows whether Faulconer Productions or Funimation has the rights to the latter, bound to be messy given their bad legal history. As for sound fonts/synthesizers, there's a document out there. Seems to be as detailed as a Yamamoto equipment listing.
Yes is he, unfortunately in the industry this often happens where a composer takes credit for other peoples work. Bruce did compose some stuff though like Ginyu Transformation, Gurus Theme, Cell Jr Themes etc.
@@KIWITALKZ I'm sure Bruce made a mistake of taking credit for himself, but I'm sure he and Morgan / Smith / Dobos will make peace and called it Saiyan Z Faulconer Team. That's what I'm hoping. With credits give their names respectfully which score which whose name credited
Although I admire your optimism, I wouldn't count on it Sam. Bruce did not make a mistake even all these years later he is still trying to take credit for their work, plus all three of these guys have moved onto other pursuits.
Without any doubt. And no, the circumstances that led to them coming on are no longer in place, and it’s all for the better. They will never be a part of the series (or any other anime) again.
The fact that Funimation chose a guy who had no real history and had to use 3 ghostwriters with a low budget setup that sounded like Video Game music & other Saturday Morning cartoon material (and their eventual split from the IP) shows you just how cheap the company was at the time. People need to understand that there’s _no way_ they (or Faulconer) can ever return to new show projects, games, etc It’s the reason they haven’t gone near anime since.
These guys and the movie soundtrack producers and the scripts some of the acting really made dbz much better...the sub the og music and kai are so boring....
Hey guys, huge fan of your work. Carried your tracks around with me on disc-man, then mp3 player, then smartphone since I was 10-years-old (now 31). I have recently started feeding your samples into AI software in order to produce new Faulconer team style tracks for a re-score I'm working on. It's amazing how technology changes with time - to think I used to carry a disc-man around with me to listen to your brilliant tracks, and now I'm getting AI to give me even more of what I love using your samples all these years later. I've also managed to finally figure out to remove the Japanese score from the Z episodes without sacrificing the integrity of the SFX. To my knowledge, I'm the first to use AI to help achieve this. (After knowing how many of my fan-edit brothers have struggled with this issue over the years, I'd love anyone who wants my full guide on overcoming this obstacle to feel free to contact me! Sharing is caring). Unlike Kai, which has minimal bleed between audio channels, Z has always been hard to re-score, with every attempt so far, including the most popular of the current fan-edits, having to sacrifice most of the SFX while extracting what they want to keep. We live in a world where AI (and some other workarounds) are finally allowing me, after so many decades of thinking about it, to re-score seasons 1 & 2 of Z with your great tracks. Thank you guys for more-or-less scoring my childhood lol
Would be interested to know more about your workflow. I did the inverted left/right side trick 15 years ago but couldnt pull it off, trying to isolate dialogue from scenes without music and effects, trying to create my own bespoke score for years while making my own music. Would be interested to hear your ai workflow too!
