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      Donate to JWFan, win a CD!   05/30/17

      Hello!

      We are significantly behind on our funds for keeping JWFan alive, and need to collect donations again.
      As an incentive, I am offering a series of free CDS to anyone who donates over a certain amount!   Donate at least $10 and you will be entered into a pool to potentially win one of the following once we hit our $250 goal:   Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   Donate at least $20 and you will be entered into a pool to potentially win one of the following once we hit our $500 goal:   John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   Donate at least $30 and you will be entered into a pool to potentially win one of the following once we hit our $750 goal:   James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   Donate at least $50 and you will be entered into a pool to potentially win one of the following once we hit our $1,000 goal:   Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.
rpvee

The Quick Question Thread

4120 posts in this topic

32 minutes ago, Stefancos said:

Leslie Bricusse is a brilliant 

 

Don't leave us hanging. 

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8 hours ago, petaQ said:

Pishposh. His songs in Hook are excellent. 

He considered that experience to have been quite unpleasant.

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8 hours ago, Not Mr. Big said:

How so?

One of the kids couldn't sing well and was blowing takes.  He said in his grandfatherly voice to relax and try to get it right or we'll find someone who will get it right. 

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What kind of drums is it that Jerry Goldsmith often uses, for example in "False Image" (00:13) or in "The Cage" (03:00 and 03:36 (newly inserted drums))?

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Those are tuned tomtoms with the timpani in False Image.  Can you provide a link to the "The Cage"?  The track from "The Edge" on youtube had no drums at your time marks.

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Oh sorry, I meant "The Cage" from "Rambo: First Blood Part II". But I can't find the version WITH those inserts on YouTube.

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Who was the first classical crossover artist?  Was it Malcolm Arnold who composed the Concerto for Rock Group in 1969?

 

 

1969 proto JW here:

 

This is freaking awesome in a psychedelic/JW way!

 

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It was composed by Jon Lord, and conducted by Malcolm Arnold (who absolutely loved it, btw!).

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8 hours ago, Richard said:

It was composed by Jon Lord, and conducted by Malcolm Arnold (who absolutely loved it, btw!).

 

Right, my bad.  Very fun orchestral piece and it does seem to be the first rock band orchestral album.  I was reading more about it last night and the other members of Deep Purple didn't enjoy the experience. 

 

From Richie Blackmore:

"I was not into classical music then. I was very very moody and just wanted to play very very loudly and jump around a lot. I couldn't believe we were playing with orchestras. We kept getting lumbered playing with them. We started off in '68- this is my opinion- as a relatively competent band with a lot to say but saying it all at the same time as each other.

"in '69 we went into the classical stuff because it was Jon Lord's big thing to write a concerto for group and orchestra. He was very sincere. But I didn't like playing it or respect the fact that we were doing it. The orchestra was very condescending towards us, and I didn't like playing with them, so it was one big calamity onstage. But Jon was happy with it and management was happy with it because we had a press angle, which I resented very much.

"In 1970 I said, 'right, we're going to make a rock and roll LP. If this doesn't succeed I'll play in orchestras for the rest of my life', because Jon wasn't too into hard rock. Luckily it took off, so I didn't have to play with orchestras any more.

"I love orchestras, chamber music—unaccompanied violin is my favorite. But I respected them too much, and we just weren't in the same caliber. I'd been playing 15 years at the time, and stuck next to some dedicated violinist who's been playing for 50 years just to give an angle to the press—it's insulting. That's why it started and ended very abruptly."

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To try to answer your question, karelm...pop/rock songs have been using classical instruments for well over fifty-five years. The album DAYS OF FUTURE PAST, by The Moody Blues, with its orchestral pieces, predated DP's record, by about three years. Also albums by Love, and The Zombies (not to mention Sgt. Pepper), used orchestras. 

As to a full orchestral/rock hybrid; I do believe that DP was the first to do this.

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Looking for a user-friendly freeware that allows you to separate/join channels of 5.1 audio files (and that is NOT Audacity or Eac3to). Basically just want a simple software that allows me to select an audio file (with multiple channels), and then just let me select which channels I want to keep, the ones I want to remove, which ones I want to join together, etc. Don't need any unnecessary options such as resampling or whatever.

 

Any suggestions?

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When you find it let me know.

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On 14/03/2017 at 4:56 PM, BloodBoal said:

Looking for a user-friendly freeware that allows you to separate/join channels of 5.1 audio files (and that is NOT Audacity or Eac3to). Basically just want a simple software that allows me to select an audio file (with multiple channels), and then just let me select which channels I want to keep, the ones I want to remove, which ones I want to join together, etc. Don't need any unnecessary options such as resampling or whatever.

 

Any suggestions?

 

After trying many softwares, finally found the perfect one, @Fal: http://www.xmedia-recode.de/en/download.html

 

It's completely free, has a portable version (so you don't even have to install it if you don't want to), and it has all the options I wanted: it can open not only audio files, but also video files to let you select the audio track(s) attached to them (so you don't even have to first demux the audio from the video with another software like tsmuxer), since it's not an audio editing sofware you don't have to wait for it to create the waveform when opening the file, and finally, it lets you do what is called channel mapping: basically select the channels you want to keep and where you want to keep them (which is exactly what we were looking for). So let's say, for example, you have a 5.1 DTS file, and want to make a 2.0 WAV file, with the right channel being the left rear channel from the DTS file and the left channel being the center channel from the DTS file, you can, and it's as easy as it can be. Really awesome. Don't have to use Audacity ever again. Good.

 

P.S.: one thing you should know before using this software (you may already know it, but just in case): when doing channel mapping, the channels are not identified as "Rear left channel", "LFE", "Front right channel", etc. Instead, you just have "Channel 1", "Channel 2", "Channel 3", etc., so here's what each is referring to:

 

Channel 1 = Front left channel

Channel 2 = Front right channel

Channel 3 = Center Channel

Channel 4 = LFE

Channel 5 = Rear left channel

Channel 6 = Rear right channel

Jay, Cerebral Cortex and Will like this

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No 7.1 support it seems? unfortunate. 

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Does anyone know if it's remotely possible, if I have an isolated vocal track to a song, if I can "subtract" it from the original full song with the instrumental intact - that way I can get a clean instrumental?

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If the vocals are isolated to a single channel, sure.

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5 hours ago, Cerebral Cortex said:

Does anyone know if it's remotely possible, if I have an isolated vocal track to a song, if I can "subtract" it from the original full song with the instrumental intact - that way I can get a clean instrumental?

 

Nah. Unless the file with the vocals has the exact same quality, volume, mixing, etc. of the full song with the instrumental, it simply won't work (and even if the file had the same quality, volume, mixing, etc., I'm not even sure it would work). You may be able to reduce the vocals a bit, but even then, the quality won't be good.

 

I myself tried something like that a few times, never worked. But it's worth a try, I guess (got nothing to lose!). Just don't get your hopes too high...

 

3 hours ago, Stefancos said:

If the vocals are isolated to a single channel, sure.

 

But then he wouldn't need to do what he wants to do!

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What is the system of the cue numbers? I don't get what those letters and several numbers per cue describe.

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It's simple. Let's take 5M4 for example. 5 is the reel number and 4 is the cue number.

 

When shot on film, a movie is divided into reels (a reel representing approximately 15 minutes of footage, if I remember correctly), so the first 15 minutes of the movie are reel 1, the following 15 minutes are reel 2, the next 15 minutes are reel 3, etc. So basically, 5M4 means it's the fourth cue in reel 5.

 

Generally, the cue number is "reset" at the beginning of each reel, so you have:

 

1M1

1M2

1M3

1M4

2M1

2M2

2M3

3M1

3M2

etc.

 

 

However, sometimes, that number is not "reset", and the cue number represents the placement of said cue within the whole score, so you have:

 

1M1

1M2

1M3

1M4

2M5

2M6

2M7

3M8

3M9

3M10

4M11

etc.

 

 

So here, for example, 3M10 is the 10th cue in the whole score.

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Another variant is the Reel and Part division which is in essence the same as e.g. 1M2 just expressed R1P2:

 

R1P1 The Township of Eastwick

R2P2 It's Raining

R2P3 Darryl's Entrance

R2P4 Must Have Been Dreaming

R3P1 Dropped Flower Pot

R3P2 Shop Lady Forgets

R3P4 What's In a Name

R4P1The Seduction of Alex

etc. etc.

 

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So it used to be based on actual physical reels, but now the reels are metaphorical but they still use the same cuing system?  Strange.

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34 minutes ago, Incanus said:

Another variant is the Reel and Part division which is in essence the same as e.g. 1M2 just expressed R1P2:

 

R1P1 The Township of Eastwick

R2P2 It's Raining

R2P3 Darryl's Entrance

R2P4 Must Have Been Dreaming

R3P1 Dropped Flower Pot

R3P2 Shop Lady Forgets

R3P4 What's In a Name

R4P1The Seduction of Alex

etc. etc.

 

 

Inky, what's IT'S RAINING? There's no music in the film, for this sequence. Is it an unreleased cue? 

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Yes it is unreleased and unused material as is Dropped Flower Pot.

54 minutes ago, Disco Stu said:

So it used to be based on actual physical reels, but now the reels are metaphorical but they still use the same cuing system?  Strange.

I think this was an older system. The example above is from The Witches of Eastwick from 1987.

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On 4/19/2017 at 0:52 PM, Fal said:

@TheGreyPilgrim @Bartokus Novus@karelm In Anduril: Flame of the West, are those  Bassoons doubling the horns and giving it that soft "Mmoh" sound?

 

Would you like to include a link with a time stamp of exactly what you are asking about? 

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No bassoons at that moment I think.  The harmony is in violas, cellos, basses, and horns 3-5, with a bit of harp.

 

Much of the "hum" at least as I hear it comes from the characteristically unexpected inversions Shore uses.  Putting the basses on the right note like that can impart a great warmth.

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