Jump to content

TitanicFan2018

Members
  • Content Count

    107
  • Joined

  • Last visited

About TitanicFan2018

  • Rank
    Regular Poster

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I definitely would've preferred this over that butchered Heaven Help Us cue. Now, if only the Titanic Live concerts were to play some of Horner's intended cues (e.g. the entire Southampton film version cue without any edits, Leaving Port), that would be a much better listening experience than those sloppy film edits. Most of the film edits suck, even when performed live.
  2. I have yet to go see a Titanic Live performance, but good thing that there's one coming soon. It's always a different experience when you're seeing a movie and you have the score being performed live versus when you go to the cinema or you watch it on DVD/BluRay/Netflix. Perhaps the LLL album is in stock to coincide with the upcoming Titanic Live concert.
  3. Did another experiment: I played "Rose Frees Jack" over the sequence where Rose goes back to the flooded corridor with the axe and then breaks Jack's handcuffs. And I believe the cue was meant for that sequence; in the final film, much of it is replaced with "2 1/2 Miles Down", and then you have a little chunk of "Rose's Suicide Attempt" for when she breaks Jack's handcuffs. Also I wonder if music was intended to be used in the earlier sequence where Rose looks for Mr. Andrews and asks him for directions, the room where Jack is handcuffed is flooding, and Rose eventually finds him there. The film edit consists of "A Building Panic" and "2 1/2 Miles Down".
  4. \ It's still in stock as of this day. Again, I hope someday it'll be released digitally once the sets are sold out.
  5. If you were hearing choir effects in a couple places before Michael Stearns "The Beacon", then it was probably my recreated "A Promise Kept" film mix. The two choir-like synth overlays, I recreated myself and added in. And like NL just said, any cue with "Revised" in its title was relabeled as "Alternate" on the LLL album. Also to point out when I did my custom complete score, I relabeled some "Revised/Alternate" cues as "Film Version" and put them into the main program (esp. Southampton, Leaving Port, Rose). But with "Take Her to Sea" I relabeled as "w/ Alt. Ending" and used the cue with the film version ending (alternate and OST combined) in the main program, and labeled as "film version". I also labeled it such because I added in the heavier thumping bass line.
  6. I've noticed some cues that have 'alternate' don't have a recording date (e.g. Rose, Hard to Starboard). "Hard to Starboard (Alternate)" is also mixed different from the OST/extended version on disc 1 (though LLL opted to insert the OST mix of the trilling trumpets and low-brass iceberg leitmotif), but I believe it's the same recording as the OST version. I don't know about "Rose".
  7. Death of Titanic recorded twice? That's interesting because I thought that the alternate cue on LLL disc 3 was the same recording as the OST version on disc 1 but without the synths; and the alternate version was also the film mix I think.
  8. I wonder if the ending for "Take Her to Sea, Mr. Murdoch - Revised" was recorded after the main cue. The revised cue is the same as the OST version except for the ending (features octave strings, cymbal crashes, and ends with a brass fanfare).
  9. At one point a few years ago, there was a fan-made recreation of the Southampton film version cue (but just the first minute of the cue) on YouTube where the original uploader used a sophisticated composition program (like Logic Pro). And it sounded just like the real thing.
  10. My idea for a revised Titanic OST 1. Main Title 2. Distant Memories 3. Southampton (Film Version) 4. Leaving Port (Film Version) 5. Take Her to Sea, Mr. Murdoch (Film Version) 6. Rose (Film Version) 7. Hard to Starboard 8. A Building Panic 9. Unable to Stay, Unwilling to Leave 10. Trapped on 'D' Deck 11. The Sinking 12. Death of Titanic 13. A Promise Kept (Film Version) 14. A Life So Changed 15. An Ocean of Memories 16. My Heart Will Go On / Post
  11. Oh, and by the way, "Take Her to Sea, Mr. Murdoch" reminds me of Enya's "Book of Days", the section with the synth choir and thumping bass line, and especially if the bass line is bumped up (like in the film). James Cameron initially looked to Enya to compose the music for Titanic, but then Cameron called upon Horner to write the score. And Horner incorporated Enya's style in some of the cues.
  12. I wonder if Horner intended to have the intro cue crossfade into the larger one like LLL did. LLL also crossfaded "Hard to Starboard" into the smaller extension cue; and I'm pretty sure that's what Horner intended as the extension begins with the same high strings the larger cue ends with.
  13. I especially liked how Horner used the uilleann bagpipes extensively for Braveheart, which is one of the reasons I love that score so dearly. On the other hand he used the bagpipes much more sparingly in Titanic. And I can only think of a handful of cues that use them: - Logo / Main Title (1st half is also "Never an Absolution" on the OST) - Logo [Alt. Extended] - Trailer - Leaving Port [Film Version] - Lovejoy Chases Jack & Rose - Lovejoy Chases Jack [Alt.] - Unable to Stay, Unwilling to Leave (pipes removed in the film mix) - Unable to Stay, Unwilling to Leave [w/ Alt. Ending] (pipes again removed from audio in film mix)
  14. That's exactly what I did when I recreated the "Hard to Starboard" film edit. I removed that atmosphere effect simply by looping the ostinato synth and combining it with the alternate cue. I also made "Hard to Starboard" a film mix but without any loops and micro-edits; just the following adjustments to the audio: - added in the metallic whooshing sound for the iceberg being spotted - removed the atmospheric effect but added in the looped ostinato synth (I used my already-recreated film edit) - added in the thicker low brass phrasing of the iceberg motif (heard when ice is falling onto the boat deck and Jack moves Rose out of the way) Guess I could put that into the main program of my custom complete score. Currently in the main program, Hard to Starboard has the metallic sound and amped up low brass but still has the aforementioned atmospheric synth. In addition I added in the heavier low brass into the alternate track but included the muffled timpani roll. LLL just decided to use the OST mix in that section.
  15. Another difference I found in that film stem leak is the edit for the panic in third class sequence ("A Building Panic"). It starts with the "Intro to Building Panic" cue, but the material immediately following is replaced by elements of "Hard to Starboard". In the actual film edit, we hear "Intro to Building Panic" and then "Trapped on 'D' Deck". I can agree that some of the edits were recreated differently than what you hear in the film because they were intended for concert performance. That can also explain why "A Promise Kept" didn't use "The Beacon" by Michael Stearns in the film stem.
×