Lorne Balfe
Composer
Alfie Godfrey
Score Technical Assistant
Steffen Thum
Additional Music
Max Aruj
Additional Music
Steven Kofsky
Music Production Services
Queenie Li
Music Production Coordinator
Seth Waldmann
Music Scoring Mixer
Soya Soo
Assistant Score Mixer
Michael Bitton
Score Technical Assistant
Adam Price
Orchestrator
Gabriel Chernick
Orchestrator
Harry Brokensha
Orchestrator
Alfie Godfrey
Score Technical Assistant
SERIES CREDITS
Music by Lorne Balfe
Music Editor: Al Green
Original Score by Lorne Balfe
Score Produced by Lorne Balfe
Music Production Services: Steven Kofsky
Music Production Coordinator: Queenie Li
Assistant to Composer: Ashleigh Kelly
Additional Arrangements: Steffen Thum & Max Aruj
Music Editor: Al Green
Orchestrators: Adam Price, Gabriel Chernick & Harry Brokensha
Counter Tenor: Reno Troilus
Ethnic Flute: Troy Donockley
Ethnic Choir: Vanya Moneva Bulgaria
Featured Soloists: Nia Bethan Squirrel, Elin Taylor, Jordan Williams, Connie Francis, Jamie Davis, Chris Davis & Tamara Sullivan
Score Mix Engineer: Seth Waldmann
Assistant Mix Engineer: Soya Soo
Score Technical Assistant: Michael Bitton & Alfie Godfrey
Score Recorded by Synchron Stage Vienna
Score Mixed at Remote Control Productions
Executive Producers for Silva Screen Records Ltd.: Reynold D'Silva & David Stoner
Album Mastering: Rick Clark
Digital Manager: James Borrer
Design Layout: Stuart Ford
02 – Play The Serpent (2:59)
03 – Dark Materials – Between The Worlds (1:34)
04 – A Spectre’s Playground (2:29)
05 – A New Cardinal Rises (3:58)
06 – The Witch Queen Of Lake Lubana (3:31)
07 – Children Of The Prophecy (3:00)
08 – The City In The Sky (5:01)
09 – The Shaman (3:53)
Original Score by Lorne Balfe
Score Produced by Lorne Balfe
Music Production Services: Steven Kofsky
Music Production Coordinator: Queenie Li
Assistant to Composer: Ashleigh Kelly
Additional Arrangements: Steffen Thum & Max Aruj
Music Editor: Al Green
Orchestrators: Adam Price, Gabriel Chernick & Harry Brokensha
Counter Tenor: Reno Troilus
Ethnic Flute: Troy Donockley
Ethnic Choir: Vanya Moneva Bulgaria
Featured Soloists: Nia Bethan Squirrel, Elin Taylor, Jordan Williams, Connie Francis, Jamie Davis, Chris Davis & Tamara Sullivan
Score Mix Engineer: Seth Waldmann
Assistant Mix Engineer: Soya Soo
Score Technical Assistant: Michael Bitton & Alfie Godfrey
Score Recorded by Synchron Stage Vienna
Score Mixed at Remote Control Productions
Executive Producers for Silva Screen Records Ltd.: Reynold D'Silva & David Stoner
Album Mastering: Rick Clark
Digital Manager: James Borrer
Design Layout: Stuart Ford


That recording footage makes it all the more baffling to me why the end product sounds the way it does.
I understand the comments about the orchestra sounding like samples by some of the comments?
If you follow his Twitter you see the BBC orchestra recording the soundtrack.Season two is cool and Balfe’s music is bigger that season 1.Bit choirs also.
Remember these are only "theme suites" and not the actual score as heard in the series. I'm pretty sure the themes from season 1 (+ Anthology) will come back during this 2nd season's indicental music
Nonetheless, the new themes are weaker than the material from season 1, for sure.
Jungleland out tomorrow
https://music.apple.com /nz/album/jungleland- original-motion-picture-score/1538478365
@Powellfan
He mixes the large majority of his scores like papery garbage (Red Sparrow, The Huntsman: Winter's War, Salt, Hunger Games Mockingjay 1&2, 2 especially holy crap that one sounds awful), and a lot of the ones he doesn't he undermixes elements so that they aren't as punchy as they would be if they were mixed normally (Fantastic Beasts 1&2, The Nutcracker). I think the amount of orchestral scores he has actually mixed very well I can count off one hand (The Water Horse, The Tourist). The Water Horse is like my gold standard for any of his scores cause everything about it sounds bloody fantastic.
JNH scores sound like cardboard Knight? What does that mean, mid-heavy?
> Steve Lipson’s Sunday blog
Where can I find that?
Everytime Balfe has a new score it’s the same rubbish about how it sounds!
It sounds epic to me and great melodies for Dark Materials
I never said that I thought Lorne didn't use an orchestra . I knew that he did, even though Edmund did made me double-check. Just goes to show how easily can someone believe that HDM was produced using samples only. It really needs a bit more "organic" sound in places, for the lack of a better word.
You heard wrong.
Really looking forward to this. As far as Balfe scores go, “His Dark Materials” was as close to a masterpiece as he’s gotten so far.