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The Quick Question Thread

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3 minutes ago, Will said:

@Henry Buck, I'm asking since you're on the forum now, is the official ROTJ 2CD release essentially complete?

 

Hi! Well, I think there are several who could swoop in with more comprehensive answers, but in the meantime: It's about 95% complete.

 

The 2CD release doesn't include the two source pieces that were replaced in the Special Edition: "Lapti Nek" and "Ewok Celebration" (of which there are three, I think, versions, two of which were included on the 4CD Arista Records Anthology set). It's also missing an alternate version of "Leia Breaks the News," which is included on the Arista set.

 

There are then a couple pieces which have never been released, and the recordings are believed to have been destroyed. These include the concert suite "Jabba the Hutt," another source cue from Jabba's Palace, and a six-second insert recorded for the Battle of Endor.

 

But part of the "Jabba the Hutt" concert suite is edited into the track "Han Solo Returns" on the OST. Or on the Arista set, maybe.

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1 minute ago, Henry Buck said:

 

Hi! Well, I think there are several who could swoop in with more comprehensive answers, but in the meantime: It's about 95% complete.

 

O.K., that's probably sufficient, given that I've never heard the score in even nearly complete form. The reason I ask is I am traveling tomorrow and am planning what music to listen to. :)

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Yeah, the big downside with the 2CD release is just the sound quality. There were some hiccups in the production process that made some of the tracks, particularly in the latter half of the score, come out sounding very compressed and degraded. The source material is still in good shape - I believe that was proved by the remastering of one track for the "Musical Journey" CD in 2005 - but the production of the set garbled it. That said, if you're dealing with the roar of a car or plane engine, you might not notice much of a difference.

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15 minutes ago, Henry Buck said:

Yeah, the big downside with the 2CD release is just the sound quality. There were some hiccups in the production process that made some of the tracks, particularly in the latter half of the score, come out sounding very compressed and degraded. The source material is still in good shape - I believe that was proved by the remastering of one track for the "Musical Journey" CD in 2005 - but the production of the set garbled it. That said, if you're dealing with the roar of a car or plane engine, you might not notice much of a difference.

 

And I'm also someone who's quite new to hard core music-listening and until quite recently often listened from laptop speakers. So I doubt I'll notice any problems. ;)

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I disagree strongly with this old article, but in passing it says one strange thing I thought was worth mentioning:

 

http://www.scena.org/columns/lebrecht/021120-NL-williams.html

 

Quote

In the middle of his 70th birthday year, Williams is busy as ever with several movies on the go, the next being Spielberg's Catch Me If You Can (starring Tom Hanks and Leonardo DiCaprio).

He also has an opera under commission for Placido Domingo; his next orchestral work will open Los Angeles' new Walt Disney Hall next year. His concertos are exquisitely performed by the likes of Itzhak Perlman and Yo Yo Ma, elevating Williams to the fringes of the classical parnassus. He is, beyond question, the most famous living orchestral composer.

 

What the hell? Is the author just confusing him with someone else? 

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I recall that and remember JW said in an interview that Placido Domingo, the music director of the LA Opera had approached him.  This was the time where LA opera were premiering lots of operas by film composers like Goldenthal's "Grendel" and Shore's "The Fly".  JW turned it down saying he doesn't write well enough for the voice.  I don't know how far it got like if he actually made some progress in it but eventually abandoned it. 

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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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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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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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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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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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