Gurkensalat

I think I detected some small errors there. So you think @Falstaft did only mention the battle music in his article, because there is no other great music in the film?? Perhaps the article was already finished and ready to go and he just managed to add one sentence just before print? Did you ask him about your interpretation? Also, the theme at the end of Prologue is not an artifact theme, but the Archimedes theme. And Tintin was 2011, not 2012, and for me it is obvious that Mangold DID know about that score, and that the Duel music from Tintin was on the temp track and was consciously used as a template, if we like it or not. Perhaps it was a subtle reminder to Peter Jackson to get off his butt and make the promised second Tintin movie as long as Williams is still able to compose the music :-) But that is only speculation on my part, of course.

Thank you for your work, I like the last version very much! Perhaps you could consider to offer it as a download also (outside of this forum, of course), so one could integrate it into a playlist.

I don't know if this is the right place, but I have read "Harry Potter and the Methods of Rationality" over the past few months and can really recommend it to everybody who is disenchanted OR enchanted by the Harry Potter world. It is a masterwork of mixing fan fiction, homage, commentary, satire and much more into a precise discourse of scientific methods, written by a professor of AI research. It is quite long, be warned, but rewarding. A free pdf version can be found here: https://hpmor.com

you mean this? https://www.jpc.de/jpcng/poprock/detail/-/art/national-philharmonic-orchestra-star-wars-close-encounters-of-the-third-kind/hnum/11129694

Yes. i dont like songs in general, the tunes as themes used in the score are enough and the really interesting thing for me. The impro was nice, but inconsequential fluff. Of course I would have to listen to everything first, maybe there will be one or two pieces that will find the way into the playlist as bonus, we will see.

yep, not for me. CD 2 will rarely be played, I fear, if I buy this. Perhaps in a few years there will be a reprint of CD 1 alone?

No. Both discs will have around 40 minutes. Or 50 plus 33 minutes. Wherever a break makes musical sense.

I am expecting the complete soundtrack with a length of about 83 minutes.

The more I learn about the Tintin soundtrack, the more I hunger for a complete release. It is a soundtrack that I never tire of and can listen to on repeat.

I think Potter as a TV series is a great idea, if they stay closer to the books in the later seasons (4-7). By that I do not only mean that they should cut less, but also avoid unnecessary changes like the stupid final duel between Harry and Voldy which reads much more cinematic and dramatic in a Sergio Leone style than the hectic action they served us in the movie.

Yes. And unfortunately there will be again no possibility to experience them in 3D at home. :-(

Also 3D fan with projector here. Jurassic Park is very good 3D, Ep. 7 has IMO the best 3D of the sequels, Tintin is fantastic in 3D, BFG was ok 3D (rented it once), nothing special. I can't think of any other Williams-scored 3D movie.

I have know Volker Bertelsmann only from a totally different style of soundtrack, for a computer-animated short film. I quite like the music, especially the "Jurassic Park" citation in the track "Riding the T-Rex", which can be heard in the listening samples here: https://shop.europapark.de/en/CD+Soundtrack+-quot-Nachts+im+Park-quot-.htm

Yes, of course YOU know about that, but I didn’t. And perhaps many others here. So I thought I would mention it.

Just because I do not want to live on coffee to go (iPhone) all the time and instead prefer to sit down at home for a larger drink (iPad)? :-) On Topic: started part 3 today and discovered that a complete soundtrack of a TV episode from the Eleventh Hour is commercially available! The Podcast is really informative.

Still hoping for a 3D Blu-ray release later in the year. The only way I will buy it is in 3D.

I prefer not to have the phone with me. I generally do not like using a smartphone and accept it only grudgingly as a basis station for the Watch. It is just an iPhone SE from 2016 which has been handed down from my son to my daughter and now to me, since the front camera got milky, the main button does not work any more and the battery is weak. I know that I am a rare case, but I am just happier with my iPad plus Watch.

Thanks a lot for this podcasts which are very interesting. The first episode even motivated me to buy Jumping Jack Rabbits from Wagon Train on iTunes! It would be nice, though, to be able to listen to the podcast on Apple podcasts since I mostly do it during biking using my Apple Watch. This embedded thing does not work there and is in general less user-friendly. Others may appreciate it if it would be available on a few of the other main podcast services out there, too.

That is, because you strife to recreate the concert hall experience as closely as possible. I understand that, because normally this is also my goal. And standard surround recordings of orchestral music do this also by just reproducing ambience in the surrounds. It is perfectly fine. A prime example is the blu-ray of the JW Vienna concert which really transports you in the hall. But that other kind of surround has not the goal of an imitation of the concert hall, but a deeper look inside the structure of the music. You just can discern the separate instruments and their lines better, as well as the interplay between different instruments.

No, then left and right would be switched. Violins are still front right, Celli front left. As I said, it is like sitting inside a circle. Other labels do this all the time, like 2L or Tacet, which have recorded among other works the complete Haydn and Beethoven string quartets in such a fashion (violins front, viola left surround, cello right surround). Artificial? Of course. But glorious!

Meanwhile I have ordered this album and listened to it. So, I can answer my own question: The MC mix is quite immersive, with the whole orchestra wrapped around the listener in a circle. The strings are in front, the French horns in the left surround, the trumpets in the right surround, for example. I like it very much, since it is very involving and allows more details of the dense orchestration to come through. But I know that it is not everybody's cup of tea, which may be the reason that Neil does not recommend it. In general sound quality is very good for such an old recording, clean and clear with almost no hiss or distortion. Dynamics could be more, but is adaequate. On the whole very recommended, especially for MC fans. In contrast e.g. to the overpriced Matrix SACD which just adds ambiance in the surrounds and does not offer much advantage to the CD tracks.

I would like to know if the quad mix has instruments surrounding the listener like it is the case with the Bernard Herrman recording or Bartoks Concert for Orchester conducted by Boulez on the same label? Or is it just a bit of ambience?

Sorry, but what stands KS for?

Images :-)

As I said before, the sound of the Musikverein recording in stereo is congested, but in 5.1 multichannel it blooms and distances every other recording of Williams Music I know of by miles. The LA Studio is nice, but cannot hold a candle to this sound marvel.