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About TitanicFan2018

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  1. When I redid the "Take Her To Sea" film edit, not only I made the cuts such that they flowed more musically, but I also recreated that bass line in GarageBand (using bass guitar tracks) and added it back in (I tried using the film stem, but you can still hear a bit of "Trapped on 'D' Deck"). With Rose, once I noticed the differences between the audio mixing between that alternate LLL cue and the film mix, I went ahead and recreated the film mix myself, using both the alternate LLL track and the OST version, as well as delicately adding in a fan-made mix of the OST cue that only has Sissel's vocals and the flute (all other elements dialed out). I also recreated the synth that doubles Sissel up an octave (it's heard in the film mix, but dialed out in the LLL cue) in GarageBand and then put it in. The synth I redid in is rather different-sounding (strings) but actually blends in well. Here's how I created my custom film mix of "Rose": beginning to 0:23 - Rose [Alternate] 0:23 to 1:09 - Rose OST version 1:09 to 2:06 - Rose [Alternate] (vocals-only mix and recreated synth added in) 2:06 to end - Rose OST version (again with vocals-only mix) Because I used the LLL alternate, it still has the harp being all over the stereo mix. However, my recreated string part kind of fixes this problem.
  2. A lot of the different mixes I like, especially bumping up the bass line in "Take Her To Sea, Mr. Murdoch", dialing out the synth choir while amping up the harp in "Rose", and dialing out the Uilleann bagpipes in "Unable to Stay, Unwilling to Leave". Also, in the film mix of "Hard To Starboard", the clarinet and snare drum are dialed out from Mr. Andrews' stateroom until the lookouts uttering "Jesus Christ" under their breath.
  3. My guess is that the first example (jointy95's recreated "A Building Panic" film edit where he used LLL material along with the film stem) is likely the film mix of "Hard To Starboard", and I could probably be right. The low brass phrasing in "Hard To Starboard" (Alternate) on disc three of the LLL album is exactly the same as in the OST version. NL, correct me if I'm wrong on some things. That film stem whatchamacallit is the film mix of the score, albeit JAC Redford's recreations of the film edits.
  4. You can say that the OST version of "Death of Titanic" and the alternate cue are the same performance. Just that the latter is just orchestra with no synths. In the case of "Hard To Starboard", I think the alternate cue is a different performance from the OST version. Below are the differences regarding how that section I was talking about is performed. 2:41 to 2:52 - notice how this section is performed different than in the OST version. Trombones and tuba have a small break in between a couple notes, trumpet plays louder, softer timpani 4:09 to 4:20 - this is the version we're all familiar with. Trombones and tuba play the iceberg leitmotif more legato without breaks, trumpet plays a bit more softly, louder timpani.
  5. With regards to the score, I discovered that the OST version of "Hard To Starboard" (w/ added extensions on disc one of LLL) and the alternate on LLL disc three are different recordings of the cue. Besides the synths not being present, other things I've noticed about the alternate are more prominent strings, percussion a bit more reserved, low brass more prominent, snare drums less "pure" sounding. And in the moment in the collision sequence where Jack moves Rose away from chunks of ice falling onto the boat deck, the low brass phrases the iceberg leitmotif differently than what we're used to hearing in the OST version; the trumpet playing those repeated short trills over the leitmotif is a bit louder, and the timpani leading into the next section (watertight compartments flooding and people escaping through the closing watertight doors) is softer. When I created my custom album for additional music and alternates, I even used that film stem whatchamacallit for the proper low-brass phrasing of that leitmotif because the LLL cue has the OST version edited in its place. The film used "Hard To Starboard (Alternate)" but with the synths added in.
  6. I'm curious, were the cues in video games unedited, and did you also recreate all the film edits? Or did you rip the film edits from blu-ray?
  7. I see. But yeah, it would be great to see the full scores get released. I also have a feeling those Harry Potter full scores floating around on YouTube are also fanmade bootlegs from DVD/bluray rips. I too thought Harry Potter and The Sorcerer's Stone was released because you don't hear sound effects or dialog in the background. Perhaps La-La Land Records could release the SW prequel along with the first HP score, like they did with Close Encounters, Titanic, and Die Another Day last fall; and Close Encounters was a John Williams Score.
  8. Somehow I found the full scores for The Phantom Menace, Attack of the Clones, and Revenge of The Sith floating around on YouTube, including recreated film edits. And I found on the JW Collection, that Revenge of The Sith was released in 2010. But perhaps I could be wrong.
  9. Weren't the entire scores for the Star Wars prequel trilogy already released, as was the full score for Harry Potter and the Sorcerer's Stone?
  10. In "Unable To Stay, Unwilling To Leave", after the prolonged flute and synth bass intro, it begins with the tragic theme (Sissel and flute) and briefly goes into the first part of the love theme (played on synths and English horn), and as Rose jumps back on the ship, the tragic leitmotif is repeated in a different key and on flute and Uilleann bagpipes (the latter is removed from the stereo mix in the film version) and then segues into the ending of the love theme before the mood becomes more frantic and action-packed (Cal chasing Rose and Jack all the way to D deck). In this particular cue, both the tragic and love themes are used together as Jack and Rose were about to be separated, but Rose got back on the ship to reunite with him.
  11. Though the love theme is primarily used to reflect the romance between Jack and Rose, it's also used to signify Rose breaking free from her engagement with Cal. Remember that the motif is used in "A Woman's Heart Is An Ocean Of Secrets", which is heard during the arrival in New York where Rose takes Jack's last name. So yes, in that case, the love theme is also Rose's theme. Last but not least, "Rose" is used in the "An Ocean of Memories" film edit when the old Rose is dreaming or passes on (her soul going to the Titanic wreck and reuniting with Jack in Heaven), and the camera is panning over her photos of when she was younger.
  12. The theme that begins the film reflects the tragic side of Titanic, and is reprised in "A Life So Changed" and "Hymn To The Sea". The more heroic and uplifting motif that's first heard in "To The Keldysh" is called the "main theme" in that cue sheet. And it's meant to reflect joy and the spectacle of Titanic. This motif is later heard in "Distant Memories", "Southampton", "Leaving Port", and "Take Her To Sea, Mr. Murdoch". It's used again in "Post" and "Hymn To The Sea" but is more sombre. Last but not least, Rose's theme is the same as the love theme. "First Sighting" is basically a "sneak peek" of the motif when Jack sees Rose for the first time, and then we hear it in its entirety during the flying scene. This is the theme that became "My Heart Will Go On". Strictly speaking, the love theme and opening theme are by no means one and the same, if you're talking about the melodies. It's just that in "Rose" and "My Heart Will Go On", the flute plays the first several notes of the opening theme before Sissel and Celine Dion begin singing, respectively, and again before the key modulates up a minor third.
  13. Just found a couple of unreleased cues in a behind-the-scenes video that I saw on YouTube: "Unable to Stay, Unwilling to Leave (Alternate Ending)"; and the "Violin Tool Kit" insert used in the "2 1/2 Miles Down" film edit, which is interestingly higher pitched in the original recording.
  14. "2 1/2 Miles Down" was the most difficult because there are a lot of places where cues are overlapping one another; the less difficult task was recreating those unreleased film version inserts. Regarding cues like Rose, what I basically did was crossfade Rose (Alternate) into the OST track in a couple of places, recreate the synth doubling Sissel's vocals an octave higher at the "big moment", and delicately add in that one fan-made edit of the track where only the vocals and flute are heard and all other elements are dialed down.