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      Migration complete   11/26/16

      Hi JWFAN.COM members,   FINAL UPDATE:   The migration is complete. - Switch to the new webserver - Install the latest wordpress and invisionboard updates - You can use https to use this website.
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      This is normal. The most links/pictures use a normal http connection. And this elements are un-secure. But when you use a website like this: https://www.jwfan.com/forums/index.php?/login/ Without any external links the website is 100% secure and https This is optinal, you can use http without any problems!   Please use this topic for any new bugs, performance problems or other comments:  
      Andreas (Admin)   ----   UPDATA 2: Server migration in the next few hours.     Update: The migration need more time.   5-11. Dec. 2016.   The server is ready, a dedicated system:   Intel Xeon® E3-1225v3 Quad-Core 32 GB DDR3 RAM 2x 512 GB SSD   New os: Ubuntu 16.04 LTS Plesk Onyx Management system
      Server backup 250 GB, not the same datacenter. External backup   Server location: DataDock in Strasbourg
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      DE-CIX: 6 x 10Gbit, ECIX: 6 x 10 Gbit Uptime 99.99%  (Network)     server migration next weekend.
      3 or 4. Dec. 2016.   I post a update when I start the migration.
      JWFAN.COM is offline for 3-4 hours.   Andreas  

dfenton85

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  1. Yeah, his suspense building really shines through in this new release. That ascending island voice theme is really the glue that holds the score together from a thematic viewpoint. I agree with that ranking except AOTC. I appreciate that score more than most but TLW has a higher level of consistent entertainment for me. And ranking TLW below Indy, Potter, Star Wars is certainly not a bad reflection on TLW. Those are all exceptional scores. From a contemporary viewpoint, TLW is better than any score released in 2016 so far.
  2. I actually wish the Rescuing Sarah track was called Truck Stop for this release. I've always associated Rescuing Sarah with that missing minute of music, and Truck Stop with the full cue.
  3. It is the cue that introduced me to film music.
  4. I suppose it depends how much emphasis the listener places on musical storytelling, i.e following the movie's story. The problem I have with the OST is that I'm so familiar with the movie, and therefore the raptor music appearing after the journey to the island feels very wrong to me. I want the music to follow the same three act structure of the movie even if that means the carnivore theme material mostly appears in a block at the end (which doesn't bother me at all). In general, I prefer a chronological representation of a score because a good score follows the flow of the film and therefore has a good musical storytelling experience. Having said that, the only edit from the OST that I'll retain in my playlist is 'Falling Car' at the end of 'Incident at Isla Nublar'. After 20 years, I am so used to that edit and I can't get used to the track ending with that chanting male voice which I always loved and increases the excitement for me rather than ending it. There is no thematic material in 'Falling Car' so I don't feel it interrupts the musical storytelling. Once the cue transitions to Muldoon and Ellie searching for Alan and the kids, I'll cut out the rest and place it in its proper place. 'The Whomping Willow and the Snowball Fight' is another rare example of where I prefer two cues from different points in the film merged together into a single track. I'll retain that edit too if we ever get a complete release of POA.
  5. The same is true with 'The Raptor Attack' from JP. It now serves as a great prelude to 'T-Rex Rescue & Finale' and the two tracks flow together very nicely. So much better having it there instead of after 'Journey To The Island' which was crazy sequencing on the OST. In fact, the three track powerhouse of 'Hungry Raptor', 'Raptor Attack' and 'T-Rex Rescue' provide a fantastic showcase for the carnivore theme. It makes the quiet lullaby version of the main theme in the end credits even more welcome after the mayham that proceeded it.
  6. 'Entrance of Hammond' definitely contains a precursor to Hedwig's Theme
  7. Oh, I just noticed that the brass at 2:00 in 'Rescuing Sarah' is probably playing a rendition of the eerie string figure at 0:48 from 'In The Trailer'. There are four notes from those timestamps that definitely have the same musical shape. Anyone else hear it?
  8. It's curious - TLW was always at the top of my wish list due to the unreleased cues that are heard in the movie. Now that I have the complete score, most of my favourite new tracks are actually from cues that weren't in the movie and are brand new to me. This release has definately promoted the score from 4 stars to 5 stars for me.
  9. That may be the case regarding High Bar and Ceiling Tiles but it is still an awesome action track as a stand alone listening experience.
  10. That ferocious ending of Ludlow's Speech is fantastic. I also love the track's continued usage of the island's voice theme. The only issue I have with that track is the synth at 2:41. I don't how to describe it but it sounds a little off to me, like it doesn't fit in with the rest of the music. The best way I can describe how it sounds to me is kinda like a loud sound fx echo from a DVD rip. It is especially noticeable through headphones where it first enters on the left channel and then the right. I think the problem is that its mixed in too loud compared with the orchestra. Maybe it's just me but it was quite jarring to me when I first heard the track. I have grown accustomed to it now though.
  11. The second half of 'High Bar and Ceiling Tiles' is the biggest surprise for me. The action writing is extraordinary. Can't believe it's been sitting there for 19 years waiting to be heard. But all the unreleased cues from TLW are packed with cool moments and gems.
  12. I'll begin my edit with The Lost World concert version. I'm definitely using the film version of 'Tranquilizer Dart and End Credits'. I'm so accustomed to hearing the island fanfare at that moment and I don't like the darker version with the synth voices. I'll end my edit by following the credits with The Lost World (Alternate) and its badass opening.
  13. I haven't listened to both in detail yet but I opened both in an audio editing program and the waveform for both tracks are almost identical with only very minor variations. Track 7 has a extra moment of silence at the end which accounts for the difference in track length. Perhaps they are different takes, but to me they seem 99% identical.
  14. Those rapid-fire trumpets at 2:55 also. My God!! Another cool point regarding the score in chronological order. The main theme in both 'To The Island' and at the end of 'Heading North' now basically bookends the time spent on the island, as opposed to on the OST when both cues were combined into a single track. 'Heading North' marks the arrival in San Diego. Regarding Ludlows's End, it was always very clumsily tacked onto the beginning of Ripples on the OST. That initial shriek from the piccolo was always very jarring after the low rumbles in Ripples. Definitely agree that the final thud at the end of Visitor in San Diego should be immediately followed by that piccolo at the start of Ludlow's End because there is absolutely no build up to that latter track - it already starts with all guns blazing so you feel like you're already in the middle of an action track rather than at the start of one, which is effectively the case in the film.
  15. 3:35 in High Bar and Ceiling Tiles