GoodMusician

Made a preview of a potential Jurassic Park III cover from La-La Land (here's hoping).
 
 

 
And a bonus inevitability:
 

The additional music more than makes up for not having simple OST edits. There is so much great material for this score that is not on the OST. Some of my favorite tracks weren't originally on it, tbh. Unlike the first JP album that largely had the best bits.

Yeah, me too.
I just watched a love scene since I really adore the Paris and Helen love theme of Yared.

I just skimmed through and there does not seem to be any extra music beyond the promo.
 
Karol

Does this edit include music that wasn’t in the ~60-70 minutes of music that everyone has heard?

As I said over on FSM, what amazing amount of work must have been involved in this. Congrats to everyone involved!

I haven't watched this, but this is supposed to be the whole movie with Yared's score! 

 

There's been some on again off again conversation about this score on this forum in various threads but I thought I'd post a thread specifically about it to really get people interested in this score.
If you haven't heard it, I suggest you find it. There are certain 'Mos Eisley" esque forums where it is available.
I actually had the oppourtunity recently to speak with Gabriel Yared about the score so I'm gonna include a little bit of that information he provided as well.
To those unfamiliar, here's the story:
TROY is based on the Epic Poem "The Iliad" by Homer. One of the greatest things about the film, however, is not that it tries to follow the exact story telling, but that instead, it tries to present the events as if they were real. In "The Iliad," Homer makes great use of the Gods and Godesses of the Greek Pantheon, intervening and interceding in the lives of those who were fighting the war.
The greatest of the Aeneas (Greeks) was Achilles, of which many myths have been created. He, and whom the film controversially calls his cousin, Petroclus, fight with the Greek army to over take the great city of Troy. The reason for this is because while in Sparta, creating peace with the Greeks, the Queen Helen stowes away with one of Troy's ships due to her love of prince Paris. Upon arrival at Troy, she is immediately taken in as "Helen of Troy" and it is her "face that launched a thousand ships."
Greece, eager to over take Troy, sends a thousand ships to fight this war and in the end, most of the characters fight for love (Paris for Helen, Hector for Troy, Achilles for Petroclus).
Upon this backdrop, the film is based in the mode of the great classic films like Ben Hur with a distinctively modern flare of Gladiator and the like.
Having been brought onto the project a year earlier than most composers, Yared began working on themes and writing source cues for dance numbers within the film and when it came time to score the film, Yared had developed a rich tapestry of themes and techniques for building the sound to be the biggest and most epic sound possible.
This is not to say the score is without its tenderness. The love affair between Paris and Helen has great tenderness and warmth with quiet winds and harp.
With all this praise and appropriateness, the story takes a dark turn. I'll let Yared speak for himself on what happened next:
So it then came to pass that the score, being judged in two test screenings, was dubbed too "old fashioned." In the mean time, James Horner had been contacted about the doing a rescore before they even had decided to do so.
Here's an interview with him:
I took the liberty of highlighting all the arrogant, rude, crass, or down right disgusting things Horner said about the score and the experience. Between these two, I can honestly say that Yared is a very upstanding man, while Horner is a complete child.
Horner says Yared had free reign, and moments later says he did exactly what the director wanted.
Horner acuses Yared of plagarism. "Honey I Shrunk the Kids" anyone?
Horner says that Yared knows nothing about film scores--I will argue that.
Horner then complains that HE wasn't first choice for Troy or the next film.
Horner also argues that Yared was bitchy on his website: he's talking about the first quote I posted which is far from being bitchy.
I've been listening to the score as of late and must say I'm completely impressed by it. I cannot speak too highly of this score honestly. It is a glorious score. In the interviews, I was curious exactly how much of the score was recorded and finalized so I emailed Yared. Here he talks about what was and wasn't finished.
So from that, it would seem the score had been fully recorded excepting rescores and any and all music he posted would be the finalized mixes. He only posted about 18 tracks which equates to a little over an hour of the score.
But honestly, having listened to this score, I don't see HOW it could have been rejected. There are small moments... moments... that could have easily been edited out. "The Mourning Women" cue for instance would need some editing as its kinda...weird at moments... and there are small moments where it goes slightly too big... btu honestly... Williams has moments like these and they get edited out. Almost every Spielberg film has microedits. They wouldn't be difficult to fix at all.
I recommend anyone who has the ability to get a hold of the score, to listen to it and if they can, try to sync it up with the film.
Here are some time codes:
The Opening - [03:54]
Opens with opening of the film. [00:35] should sync with the reveal of "TROY" which is a little over [00:35.5] into the film so almost right away.
Achilles and Boagrius - [03:45]
The cue begins as the King of Thessaly calls out "Boagrius" at [04:19]. There are obviously some micro edits in this sequence but syncing isn't too hard, just gotta pause the film briefly in moments and vis versa.
Sparta - [01:55]
This is the source music to be heard as the dancing begins after the announcement of drinking to peace. It would be heard in the background of the following Paris and Helen scene. It starts a little later than where Horners almost direct interpretation begins in the film so it starts more around [10:16] or so. I've been trying to get it to line up with the finishing of the source cue in the film. There are probably some micro edits here too.
Helen and Paris - [01:41]
This is one possible placement of this cue. It would begin just as Paris raises a pearl necklace to offer it to Helen at [12:30] into the film and ends at the cut his ship returning to troy.
Achilles Destiny - [05:38]
Meant to line up with [23:22] as we transition from Achilles and Petroclus being asked to join the war against Troy ( who's theme plays ominously in the background) to Achilles mother searching for seashells, this cue has some beautiful depth to it, exploring the virtue of fame and glory vs family. As his mother tells Achilles his possible fates, we learn of his choice to go to war (knowing it would mean his doom) and the music glorifys him as we pull out further and further revealing more and more ships.
There is also a fanfare that syncs up with cuts to Paris and Helen in the chariot along with a soft melody playing as Hector and his wife embrace and she shows him his son.
Helen and Paris (Possibility 2) - [01:41]
It would start at the cut to Helen over looking the sea at [30:40] and continue to the end of the scene. If this isn't the placement, based on the rest of the score, a similar derivative would have gone here.
A Thousand Ships - [03:31]
I still can't quite find the sync point of this. I can only guess it was havily edited.I thought maybe it was once the bells started tolling so the fanfare would hit once you see the ocean and the ships small in the distance but it didn't seem to fit much past that. But editing may have changed it greatly.
As I track more in i'll update this

Although in some cases I do appreciate the remastered OST, I feel like that's the biggest gripe a lot of people have with releases lately is the presentation of the OST taking up space of unreleased material. 

Luckily re-building the OST with this release wouldn't be hard and to me its better to get new material.

Here is a bit of the centre channel for The Imperial March. THAT TIMPANI! 🤩
Imperial March Centre .mp3
The Battle In The Snow. Listen to that Contrabassoon! 🤩
The Battle In The Snow (Contrabassoon).mp3

Definitely an abrupt note change rather than an edit in the first. You can hear there's no edit in the strings underneath that.
 
The entire passage seems to match note-for-note the revisions in the sheet music that leaked ages ago. He definitely stopped the take at the end, the sheet music also ends in that place with that last note meaning to segue directly into the part in which the chorus starts. I assume he did something similar with the End Credits section - only recorded the intro and outtro segues and then had 6M9 edited in. Here's how I believe the transitionf from the V1 intro should sound:
 
6M9 DVD Version V1 Segue.wav
 
On another note, I am amazed that nobody actually noticed that the sheet music presented this and not the OST opening for all these years. It's kinda a shame this is the cleanest version we have but at least we'll hear it in the best quality when they eventually get round to doing the Prequel expansions we all know will happen one day.

I mean, the sound they posted is literally heard mixed strongly at this moment:
 

so it was at least used for that. There's a good amount of synth percussion in this cue

I would also love to hear what synths were used in Williams scores -- from cases where they're upfront and the main component, like "Training Montage" in SPACE CAMP or a lot of HEARTBEEPS, to the more common and discrete uses in cases such as JP, HOME ALONE, PRESUMED INNOCENT, NIXON, SLEEPERS, A.I. etc.
 
Wish I could discern it by ear, but it's very difficult.

No info in my hands, but I agree that the chimes in Home Alone do sound very FM, so DX7 is a possibility. My only other suggestion might be Korg M1, because that was the biggest synth in the world at the time - by 1990, the DX7 was a bit 'last month'.
 
Ralph Grierson was the keyboard player on JP (and for a huge number of JW scores, plus Horner et al) and seemed like a really friendly chap when @TownerFan interviewed him. If anyone could track down contact details for him and ask nicely, I suspect he might be quite happy to help us geek out. His synth rig was probably pretty comprehensive, back in the day, but I imagine that extra synth kit would have been hired in for certain scores - I believe it was pretty common practice. This picture from @TownerFan's interview webpage gives you an idea of the scale we're talking about:
 

 
The website gearspace.com often discusses this sort of thing (with a degree of obsession and fanboy-ness which residents of this forum may recognise), but I can't find much of substance about Ralph on there. It seems he was a featured artist in Keyboard magazine (May 1986) - if anyone can get hold of a copy, it might have some info in. Or might not.
 
Mark

Hi all, there may have already been a thread about this somewhere but I was wondering if we could concentrate our knowledge about some of the sounds used in this score.
Dennis Steals The Embryo
I was able to find the Owl Sound from Dennis Steals The Embryo (Synclavier) at 16 seconds you can clearly hear it
I believe the synth boo-bams are the actual live boobams now in the posession of LA percussion rentals
I believe the main clave (originally pulli sticks in the score)  in the song may be synth
 
I believe the dx7 was being used at the time (for example the TUBELL preset I believe is a sound on Home Alone Main Title)

Does anyone else have info?
1447383422_OWLJP.wav

Crimes of Grindelwald confirmed to me that what Rowling likes to write most is the sinewy, amorphous intrigue of stories like Half-Blood Prince where there's several mysteries wrapped in one. The problem when you translate this to something like Fantastic Beasts is that you prematurely suck the magic out of the story. The political/mystery elements of Harry Potter were rightfully developed much later in the story, not in the first book like what Rowling has attempted with Beasts.
And just to add to that, Wizarding attire is incongruous to the same of what Muggles wear in any period. 

A post which has since been proven right in some ways

There’s was a notepad sold at auction with notes from Phil Tippet discussing the return of the rex.
 
In earlier scripts the rex chases the cars to the helicopter and even attack the helicopter (you can see this even made it into the coloring book).
 
With those scenes removed, there was this question of how to have the rex return one final time. There was discussion of having the rex attack the raptors outside the VC but by this point in filming they’d lost the location sets to the hurricane.
 
Between Tippet and Spielberg or whoever the decision switched to have the Rex save them inside the VC and Rick Carter—the films production designer—even tried to figure out how the Rex got in but Spielberg was thinking cinematically, not in how it actually got into the building. 
 
And I think its important to remember the issue with the rex fence is due to the need to marry location with sound stage, and they did their best. This was pre CG environments. We didn’t really get those till JP3. 

Unused means it was recorded, but not used.  In this score, that's Goat Bait and The Saboteur.
 
Unrecorded means, well, unrecorded.

Clever.
 
 

Which may be why it wasn’t, but the performance is so different It’s something those of us in the JP community and many in the film score community have wanted. So I’m grateful for it.
Yes please! I could give an itemized list… haha
To my understanding they never filmed anything but the final ending.
 
it’s worth knowing that it would have been one of the last effect sequences turned in because after they filmed the finale (a film wrap for Ariana and Joey), they cleaned the rotunda and the next day filmed the queue videos for River Adventure and then began tearing the set down. 

the final shots filmed were Hammond, Grant, and Ellie in the trailer as Hammond invited them.
 
Williams would have had a locked cut but with no effects to score to. Also realize that Williams scored the film with almost NO alternates. He has unused cues, sure, but no alts.
 
Any changes after the locked cut would have been a mix of work between George Lucas and Spielberg in Poland. So any changes—such as the shortening of Raptor in the Shed and making a new cue with tracked music or starting the credits a few seconds earlier and trimming some of the music—and the replacement of music 1:1 in the rex finale would have been one of their ideas

If you open two identical tracks (one from the 2016 release and one from the 2022 release) and invert one you can sometimes bring out some tape noise (pops, clicks, garbling). Not really anything can be done with that given they are analog tapes; plus they're not very noticeable to the average person, unless you purposely try to bring them out as I did below. I guess, you could say, it adds character to analog recordings, like how loud pops and hissing apparently "adds" to the vinyl experience. 
 
Entrance Of Mr Hammond.mp3
 

Personally, I've always felt cheated by the T-Rex ending. It's the ultimate surprise Deus ex machina, coming out of nowhere and without any proper buildup and foreshadowing, just like the edited soundtrack cue.
 
IMDb, in perhaps its absurdest trivia entry, claims (or used to claim) that it was Williams's own idea to have the T-Rex be the saviour. Which is even more funny considering the music is tracked.

Not to mention that the cue as composed and conducted syncs up perfectly with the film and fits the scene quite well. I understand why the section from the End Credits was tracked into that scene, though. Either way works perfect for me, though.

Expanded and accurate to the film version!
JP3 did have the FYC release, but I like those tracks more without all the brass overlays.
Plus give us the Pteranodon cage track already.