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    • Jay

      Donate to JWFan, win a CD!   05/30/17

      Hello!

      We are significantly behind on our funds for keeping JWFan alive, and need to collect donations again.
      As an incentive, I am offering a series of free CDS to anyone who donates over a certain amount!   Donate at least $10 and you will be entered into a pool to potentially win one of the following once we hit our $250 goal:   Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   Donate at least $20 and you will be entered into a pool to potentially win one of the following once we hit our $500 goal:   John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   Donate at least $30 and you will be entered into a pool to potentially win one of the following once we hit our $750 goal:   James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   Donate at least $50 and you will be entered into a pool to potentially win one of the following once we hit our $1,000 goal:   Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.

phbart

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  1. Okay, I may have exaggerated a bit. They may not be "completely" different, but they're still a lot different from take 19. I'll upload to youtube the first 8 seconds from all the takes for an easier comparison.
  2. The finished version opens with take 19. And only the first 8 seconds of it was used. All the rest of the finished version are from takes 18 and 20. Now, if you listen to those same 8 seconds from the other takes (16, 17, 18 and 20), they're completely different. And for all the opening themes of the other Star Wars films, John Williams followed what was recorded on those inital 8 seconds of take 19. I guess we can call it "Take 19: the 8 seconds that changed film history".
  3. They should've just repressed the 1995 DCC 2LP album, same cover, linear notes and everything. We would get complete "Well of the Souls", "Desert Chase" and "Washington Ending / Raiders March" I don't care much for "Washington Men / Indy's Home", "Bad Dates" and "Indy Rides The Statue".
  4. Thanks! It was no huge deal, after all. I ended up laughing in the end, thinking about the music editor who worked on this back in '77. I imagined him when JW started to do like "I want take 19 here, then take 18 there, then blablabla...". He probably wanted to kill JW!
  5. A couple of hours, for sure, going back and forth between the raw takes and track 2 of CD1. And that was just to solve the puzzle of the correct takes. Then came the "pleasant" surprise that was to realize that different portions of the takes were used in different portions of the final version. Then there was the editing process, and THAT took me even more time. It was grueling, to say the least. But ultimately satisfying
  6. A good pair of headphones or loudspeakers might solve the "density" issue here
  7. 0:00 to 0:08, tk.19 0:08 to 0:43, tk.18 0:43 to 1:31, tk.20 1:31 to 1:43, tk.18 1:43 to end, tk.20
  8. Yes, that! I'm talking about the original Star Wars 1977/1997 Main Title version only. Not ESB, nor ROTJ, nor Eps I, II, III, VII, VIII, IX, X, XI, XII, XII, XIV, XV... And these are not alternate takes. I took the correspondent sections from each of these takes to create, from scratch, the original film version because of their superior sound quality. It was very difficult to do this and it took me a great deal of time to figure it out what sections were used, let alone combining them properly in Adobe Audition. However, it was no huge deal at all, since it's my favorite JW score (along with Indy trilogy, E.T., Jaws, CE3K, and so on ) Just "listen" to the videos and you'll get what I mean about better sound quality.
  9. I reuploaed the videos using a better audio codec and a proper background
  10. As we all know, the 1997 Special Edition OST 2CD set presented us with the complete recording sessions of the iconic Main Title on the last track of CD1. As we all know also, the sound quality of these separate takes is better (MUCH better, I think) than the final version presented on track 2 of the same CD1. I believe that some of you have already toyed with the idea of creating a version using the selected takes (18, 19 & 20, which the 1997 OST booklet dutifully informed us). So, to celebrate the 40th anniversary, here's my modest contribution (and the correspondent track from the 1997 OST for comparison). It was no easy task putting this together. In the end, it made me respect the work of music/sound editors, and EVEN MORE the work of music/sound editors of the analog era. Hope you like it!
  11. The booklet has an "in memoriam" section at the last pages. But they forgot to mention that Bob Peck, the british actor who played the Raptor expert in JP (actually, not so expert), died in 1999.
  12. I'm at work now, but latter I'd happy to post printscreens of the Adobe Audition readings of all three releases, so you can draw your own conclusions... Edit: How about if I open a new topic? We're going 30 pages now on this one already...
  13. Well, I think everything in this release sounds louder and more detailed, and the dynamic range is higher (if Adobe Audition is detailing it correctly). Not every engineer can make music like this sounding louder and more detailed and still deliver it with even greater dynamic range than before. Kudos to Matessino for achiving this!
  14. So, this whole 24bit and gazillions of kHz thing is just a marketing gimmick after all? Well, at least that's what I always thought, anyway. I read somewhere that it's just useful as a production format like recording, mixing, mastering and stuff like that. But for the end users like us, it's totally nonsense... 44.1kHz/16bit is more than suitable. I think I saw a video explainining objectively why. I'll try to find it...
  15. Is it me, or anyone else who got the CDs already noticed that the "lesser" 44.1kHz/16bit version actually sounds MUCH better than "superior" 192kHz/24bit version?