Sometimes a 60-piece band is required to score effectively. Sometimes it only takes one musician.

These extremes are two of the most popular shows of the season: Apple TV+ satirical series "The Studio", whose innovative percussion score is by Antonio Sanchez; and the famous Disney+ drama "Andor", which sums up Brandon Roberts' new music "Star Wars" originated from Rebellion Saga.

Sanchez's single band is an interesting element of Sendup "The Studio" in Hollywood entertainment. Before that, he didn't know about the show hosts Seth Rogen and Evan Goldberg, but it turned out they were using his full drum score from the 2014 film "Birdman" as a temporary soundtrack for "The Studio" and liked what they heard.

"They gave me the first episode and I could see what worked for them was the percussion, the timing and the rhythm," Sanchez said. He said that his path to the jazz drummer made him "make him do less, decisive and intense, but relaxed and relaxed."

It's not just a scene where Sanchez improvised. "A lot of the time, maybe five drum tracks are stacked on another track to make it almost infinitely colored," he explained. "I'm going to just use a regular drum set for one pass. The second pass might be with a brush, the third pass with a hammer, the fourth pass might be something different from the Cymbals or my hand."

To distinguish the "Studio" from "Birdman", he added bass, piano, and sampled brass or woodwind instruments based on the storyline, all created by himself alone in his studio near Barcelona, ​​Spain; no other musicians participated.

In season 2 "Andor", Roberts requires a 60-piece London band, an eight-scene choir and a variety of side-effect instruments from Yavin, Mina-Rau and Ghorman.

The original composer of Emmy-nominated Nicholas Britell was the original composer of Andor, who started the full season, part of Episode 4, Episode 5 and Episode 6 before he had to leave the project. Most importantly, he wrote the Gorman national anthem, which was massacred by the Imperial Army in episode 8 as protesters were slaughtered.

"I wanted to maintain the DNA and palette Nick created for Season 1 and use some of these themes," Roberts said. "But (performer) Tony Gilroy was very clear that there was a need for new planets, plot developments and character expansions musically, new theme material, new ideas and a bigger world building."

As he jumped into the middle of post-production, Roberts was able to see all 12 episodes before he started writing. Yavin needed a theme of "melody, orchestral and grandeur", while the wheat planet Mina-Rau called for "dirt and wholesome, Americana", while Ghorman leaned more towards Viennese Waltzes with Eastern European hues, which included Cimbalom and Hammer lacmer lacmer.
Roberts’ music in the complex Cassian relationship was crucial in later plots, and the early jungle moon sequence benefited from Roberts’ use of unusual percussion instruments, including Indonesian bamboo instruments used in the Planet of the Apes, including Angklungs.

The background “source music” became an interesting part of the assignment, inventing the local Gorman band (“kafhaus”) with a gut string violin; a tribal drum in the wedding ceremony at Chandrila; and singing opera aria in Ghorman’s language (“almost like a classical work, touring through the galaxy,” Roberts said.

One intimidating factor is the position of "Ando" in the overall era of "Star Wars". It follows the feature of John Williams’s season 1 at the time-awarded movie prequel, but before Rogue One (Michael Giacchino score), it was itself a prequel to the original Williams-rated “Star Wars: New Hope: New Hope: New Hope” before.

"The biggest challenge is creating musical continuity while trying to bring my own voice," Roberts said. "Making a small contribution to 'Star Wars' musically is a dream that the composer realizes."