Jump to content

NL197

Members
  • Content count

    164
  • Joined

  • Last visited

Everything posted by NL197

  1. without a 5.1 mix that's not drowned in sound effects, that's just impossible to do properly. It's the same thing though, any time the synth choir plays mostly on its own there's very little else playing along.
  2. Yeah it's just the center channel of the 5.1 mix (DTS CD and SACD). Play a cue like Southampton like that and most of it is snare drum, bell and occasionally woodwinds for the choir parts.
  3. If you used a fan-made mix of Rose without the other elements, it was likely from a source of mine. Years ago I made a breakdown of the OST and provided the various channel configurations as separate albums - a 'surround channel' album, a 'center channel' album, etc. Been at this a while. If you're willing, I'd like to hear what you did with "Murdoch" since mine was a mix of the film edit and the bass line from the film stem, since it was thankfully just the ending that I needed and that's what the film stem had free of other elements.
  4. For the custom I did, I put the bass back into "Take Her to sea", but without the film edit shortening the passage, and used the pipe-less version of "Unable to Stay" while fixing (as best I could) the awkward edit in the left-right bouncing rhythm effect. I definitely prefer the film mix of "Rose" to all the versions released of that cue.
  5. NL197

    Horner's House of Cards

    While Herman kept things vague, it was surprising what he had to say about Horner's time on the film.
  6. Exactly. It's not worth it to talk about a score deemed impossible to expand for 20 years? Obviously you're talking about the edits of a certain final fantastical shrine like place....though personally I think the whole idea of recreating the film edits are beyond awful as a listening experience for the majority of the score. But I do indeed think it's not a case of different recordings but merely mixing for different uses, such as dialing out synths for the film edit discussed a while ago (the diamond / ' We are Royalty Rose' scene). Bump up the strings in one passage, mute the tuba in another, take out the snare drums every other bar, whatever the case might be. The performances would be the same, but 'sound' different because of the mixer fudging around with it. I'd have to get back to you on the similarities between the two versions. I don't have it on hand to compare at the moment.
  7. Everything you're describing is mixing. The mixer could do that easily to craft the music around the needs of the surrounding sound effects and dialogue. d No one has, at least on here or FSM, commented on the specifics of the album like that (Promenade / Butterfly comb) We attempted to interview them about it ala JWFAN but never replied as far as I know.
  8. NL197

    Horner's House of Cards

    Unrelated but Thor, did you ever read our interview with Striped Pyjamas director Mark Herman: http://jameshorner-filmmusic.com/exclusive-interview-mark-herman-boy-striped-pajamas/ It's quite a good insight into the making of the score.
  9. One could say the same about the alternate "Death of Titanic", but I don't think it's necessarily a different recording as in different performance, but rather just different mixing. I see the themes as follows: "Tragedy": Main Title / A Promise Kept (film version) "Main Theme" / the "TITANIC" theme: To The Keldysh / Relics and Treasures / Southampton (strings) and subsequent cues of the grandeur of the ship I feel this theme (my favorite) is representative of two aspects: The main theme melody is more of Titanic itself, and the synth chorus in Southampton, Leaving Port and Take Her To Sea, Mr. Murdoch are more of the excitement of the people aboard, especially Jack in the latter two cues. "Mystery": Rose Revealed / Distant Memories / My Drawing / An Ocean of Memories "Love Theme": First Sighting / Rose / The Portrait and subsequent cues of that nature "Ocean" or whatever name might fit for the darker, ominous music for the sea: 2 1/2 Miles Down / Rose's Suicide Attempt / Hymn To The Sea Also, 2 1/2 Miles Down is one of the most interesting and fascinating pieces of music Horner wrote for the film. I love it.
  10. You have that reversed. Fox was international for both films, Paramount was North America for both films. That's why Horner's score appears as it should over the Paramount logo.
  11. NL197

    Anyone else dig Horner's earring?

    He never dated Goldsmith's daughter. They were (according to her in that long defunct / canceled biography) acquaintances / sort-of friends who hung out occasionally because he knew who her father was and he was interested in one of her friends (if I'm remembering that story correctly)
  12. NL197

    Anyone else dig Horner's earring?

    He had been separated for quite a number of years, so I don't think so.
  13. NL197

    Anyone else dig Horner's earring?

    I've not had any confirmation but I had always assumed his earring was worn in place of his wedding ring. After a point it went from an actual ring to a stud. Also he had a tattoo of a rope around his wrist.
  14. NL197

    Anyone else think James Horner is better than John Williams?

    Williams leaves me almost devoid of emotion more often than not. Complex, recognizable, but emotional? Not to me it isn't. To each their own.
  15. NL197

    Anyone else think James Horner is better than John Williams?

    It’s funny, because I’ve come to find over the last few years (sadly not first hand as I couldn’t meets him myself) that he and I shared a very similar personality and I despise arrogant people. It’s actually one word I would not use to describe him because a lot of what he had to say was born out of both a sense of keeping himself as vague and distant from others as possible, and being frustrated enough to just tell it like it is when having to talk about dealing with other people. He was not a social person and had trouble connecting to others, and as someone very much like that I could see where he came from. If you ever met me in person you would probably get a similar impression and I’m not a world famous composer. More than half the things people say about these guys in places like this goes far beyond “arrogant prick” but no one cares because no one here is a public figure. No anonymity for these guys whose work and sometimes lives are torn apart and dissected and bitched about online.
  16. NL197

    Anyone else think James Horner is better than John Williams?

    That's because the site was an outgrowth of the old "Hornershrine" forums I used to co-run. The discussion fell silent for the most part, and one of the key members of the boards started up the new site, gathered several of us to help make it more accessible to non-French and Spanish speaking readers, and we've been off and running ever since. The main reason the boards were shut down was that at the time, forums were less of a place to discuss compared to Facebook pages beyond here, FSM and Filmtracks' looney tunes scoreboard. (edited to add) I can also say that James Horner himself was both aware of the site and allowed the use of his name as the domain. His one stipulation was that the site use "film music" so no one would confuse it was some personal site of his. Sort of 'officially unofficial', and when he died, thankfully members of his team and his own family continue to support our efforts.
  17. NL197

    Anyone else think James Horner is better than John Williams?

    Horner will always be my favorite composer, and I've always believed his dramatic and emotional instincts to be second to none, but I don't find anyone "better" than anyone else. Of course Williams and Zimmer fans think their guy is "better" than everyone else, but that's fandom for ya.
  18. The bells are likely sound effects for the trailer, not part of that unknown music.
  19. For the introduction and the tolling bells, right? That's likely some generic library music because it certainly isn't part of the score.
  20. NL197

    The Official James Horner Thread

    Wow, that publicist really loves to lay on the disdain. He’s the JWFan equivalent to FSM’s late RM Eastman with the levels of arrogance and insults flying at everyone who isn’t him. He’s on ignore because I find that kind of thing he does just lame and tiresome. I’d rather focus on positives than pointless criticism. Whatever his axe is that he feels needs grinding, it’s likely a polished stump at this point. Also the only music in JADE that wasn’t used much was the Chinese source music. Most of the score itself was used. Edited as most scores are, but used in the film.
  21. The film mix of "Rose" is different to the LLL cue, in two key areas: -Sissel's voice in the LLL seems to be more distant, at times drowned out by the surrounding instruments as if the center channel was muted and all you have are her vocals reverberating in the stereo channels. It's the same in the "Main Title" which is literally the exact same recording as "A Promise Kept", but missing that center mix. When I did my own custom assembly of the score, I took the 5.1 channel version of "Rose" and added back in (delicately) Sissel's vocal so it wouldn't be as drowned out in that LLL cue. -The harp is all over the stereo mix of the LLL version and it appears as though two harps are playing through that big moment in the music where Sissel's voice soars ("I'm flying! Jack!") whereas in the film mix there seems to be only one, and it's primarily on the right channel. In addition to that some of the synth work is more subdued on the film mix versus the LLL cue. All in all I'd honestly say the film mix of that piece of music is better.
  22. I like some of the film edits, very few of them. The majority I just wash my hands of. For me I like more of the film mixes, which everyone seems to confuse. Mixes meaning cues like "Rose", which has its elements mixed differently in film compared to the OST and the intended version. Film edits are often terrible, like "Leaving Port" which butchers the Uilleann pipe "Heaven Help Us" section. I recreated the "Southampton" film edit, but without truncating the first half or fading the string section. I just liked how the trailer music was used in its place because the slower tempo added some grandeur to the shot of Rose under her huge hat.
  23. The point was not to list where pieces could be found elsewhere. The point was that it wasn’t included in the live performance film stem leak. “Dialed out” doesn’t always mean removed entirely. Sometimes it’s more a remix of the elements to quiet some down. Sometimes it’s dialing the element out by fading it away. YouTube? Blu-ray or DVD not superior enough? I said certain pieces. I mentioned one as an example. Sounds like the only thing you’re interested in is trying to one-up or counter everything I’ve said. Good for you.
  24. iD4 is my favorite score and I absolutely love the film in a very unironic, non-guilty pleasure way.
  25. The score works because that's what people are used to. But does it really truly work? Every time I've ever put the music back as intended it works even better. Especially cues like "Leaving Port" and the unreleased battle cues in "Avatar".
×