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Varese Sarabande releases Family Plot!


Frank Vincent

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The GI JOE controversy is certainly debatable. I have the CD and it sounds normal to me.

Well I can't say anything with any authority (I found the score uninspired), but I remember it being fairly heavily debated on either MM or FSM, supported by some sort of analysis.

KM - I don't know exactly how - drag the wrong folder of files... think you're making a demo CD when you're actually making the production master... use a machine with file extensions turned off. I bet it's possible.

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KM - I don't know exactly how - drag the wrong folder of files... think you're making a demo CD when you're actually making the production master... use a machine with file extensions turned off. I bet it's possible.

or drinking on the job ;)

I deleted that version.

eh it's still to early to do that

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The sound samples aren't that great. All they did was tear off the upper register, add a bunch of reverb and pull the sound field apart. Then with a bunch of normalization, you get what they had. I could do the same with the boot honestly but i like the room sound. I'm still gonna buy it, don't get me wrong, but don't think it's something its not heh

Although some of the cues sound much better... track one of course heh

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Michael Matessino chimes in with more info:

Let's not put forth any misleading information that this is fake stereo made from mono. That's an inaccurate generalization.

Family Plot was not a mono recording originally but no stereo sources or multi-tracks were saved. All that exists is a 3-track mono mixdown. Each of the three tracks groups certain instruments, the purpose being that when the film is mixed in mono the sound mixers have some very basic control if, for example, they would like less strings, more percussion, etc. at a given moment. So while you can't treat these 3-track mixdowns like an L/C/R because it sounds really weird and unnatural, you CAN use them to get some spatiality out of the recording and end up with, as I said earlier, something with a stereo "field" but not a stereo "spread." FSM previously had to do this with their Coma release and it's come up a few times on other scores.

Whether one wants to consider this stereo or mono is up to individual interpretation. It's technically stereo but not IN stereo, strange as that sounds. The goal was not to settle for flat mono if we didn't have to and I think the results are very pleasing, a consistent, full-bodied sound for the only surviving source of this score. Seriously, read Bruce K.'s notes about Carrie at the Kritzerland site. He speaks about it far more lucidly.

http://www.kritzerland.com/news.htm

Mike

http://www.filmscoremonthly.com/board/posts.cfm?threadID=73844&forumID=1&archive=0&pageID=8&r=416#bottom

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Based on the samples, I think they did an admirable job with the three mono tracks. Only so much you can do with that sort of source material, and I think the results they came up with are going to be perfectly listenable. I can certainly tell the difference, but honestly, the first time I listened to the samples (before I knew), I didn't even notice that it wasn't real stereo.

Also, GoodMusician, I must admit, your comment about tearing out the upper register confuses but doesn't surprise me. I think you and I have very different sensitivities to higher-frequency sounds, because the samples sound like they've got the right about of treble to me. (Or as close to right as you can convincingly get with recordings from that era.) Moreover, although you're an excellent editor, your edits always sound way too bright to my ear. It's just interesting, I dunno if the difference is in our sound systems or our ears or just in our preferences. ::shrug::

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Its possible. I find that my tastes change. There have been edits in my past that have been too bright or not bright enough but the thing with the upper register to which I'm most sensative too are the subtle nuances of the room. You hear the room. Taking off too much and you remove the room and i think that's the travesty with a lot of modern mixing is they rely so heavily on the synthetic reverb to create the sound rather than augment the room. But eh.. lol

Oh, and MM responded to me about the final track (which isn't on the bootleg btw) and about a possible alternate during the chase sequence.

"The Stonecutter" is indeed source music in Williams' '70s funky rock style.

In "Maloney's Exit," the timpani heard in the film seems to be editorially created by tracking and editing part of "Maloney's Knife" where solo timpani is playing.

Mike

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Yeah, it's not as if they just took a single mono track and applied some fake stereo effects to it. There's still separation of groups of instruments, at least, and artificial reverb isn't a bad thing when done properly.

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Also been getting some messages similar to the top comment above and for the record, the appearance a few years ago of that-which-shall-not-be-named has ZERO connection to the official licensing of the score by Varese. ZERO. No connection whatsoever. That was someone's private source intentionally spread around as a deliberate act of spite.

Mike

I hope i am not the only who finds the sentence i put in bold and unfortunate statement?

Why anyone who 'releases' the '30-years-without-official-release-soundtrack' recording sessions have to be acting with malicious, evil or sad intent?

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Anyone ever who releases recording sessions or unreleased music is inherently acting with malicious intent. While you may think you're doing the fans a favor, your backstabbing whoever entrusted you with the material in the first place.

If John Williams personally gave you recording sessions, would you turn around and post it everywhere on this board?

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Well i doubt Williams personally gave them to anyone, more probably someone in the recording booth made some copies for himself.

Anyway, still i'm sure that Mr. Mattessino had listened to the music before accessing the Universal vaults. And i'm not speaking of watching the film...

And Koray... there are certain composers that give away their recording sessions to promote themselves. Very nice from their part. Not evil.

Anyways...lets change topic, it was an unfortunate comment on my part, i just couldnt keep quiet.

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Maybe I misunderstood Luke's original comment. I took it that you were saying "How could releasing recording sessions be anything but a good thing?"

I'm just posing what I think is a good question in general. If somehow John Williams was in contact with you, and he personally gave you the recording sessions for one of his scores (not particularly Family Plot or Sorcerer's Stone or anything), and said "Enjoy and please keep it to yourself." Would you leak it publicly on the forum?

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Maybe I misunderstood Luke's original comment. I took it that you were saying "How could releasing recording sessions be anything but a good thing?"

I'm just posing what I think is a good question in general. If somehow John Williams was in contact with you, and he personally gave you the recording sessions for one of his scores (not particularly Family Plot or Sorcerer's Stone or anything), and said "Enjoy and please keep it to yourself." Would you leak it publicly on the forum?

No i wont.

With the exception of Sugarland Express :cool:

I was talking about this particular score that has not had an official release in 34 years, where the footwarmerd surfaced just in the last 2-3 years ago.

anyway, let's return to the main topic.

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I hope i am not the only who finds the sentence i put in bold and unfortunate statement?

Why anyone who 'releases' the '30-years-without-official-release-soundtrack' recording sessions have to be acting with malicious, evil or sad intent?

That's not what he said - he said that in this particular case, the intent was malicious. I took it to mean he actually knew who the source of the leak was, and that it'd definitely been done with deliberately hurtful goals in this case. Obviously, someone could leak that sort of thing without malicious intent (although it's still copyright infringement regardless of intent), and it seems unlikely that Mike would say something like that without having some information about where the leak came from.

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I hope i am not the only who finds the sentence i put in bold and unfortunate statement?

Why anyone who 'releases' the '30-years-without-official-release-soundtrack' recording sessions have to be acting with malicious, evil or sad intent?

That's not what he said - he said that in this particular case, the intent was malicious. I took it to mean he actually knew who the source of the leak was, and that it'd definitely been done with deliberately hurtful goals in this case. Obviously, someone could leak that sort of thing without malicious intent (although it's still copyright infringement regardless of intent), and it seems unlikely that Mike would say something like that without having some information about where the leak came from.

I have to agree with Joe on this one. I too doubt Mike would have said anything unless he knew the person who actually leaked the mono boot.

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I have to agree with Joe on this one. I too doubt Mike would have said anything unless he knew the person who actually leaked the mono boot.

Not too put a too fine point on it, but i suspect that 'Mike' is in possession of a rather large collection of those illegal objects himself (in most cases certainly not blessed by the composer and studio, either). This seems a rather comforting position to berate others for illegal wrongdoing.

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At least he could have done better than 88kbps MP3pros. He even screwed up his leak

(as far as I can tell all versions found later on the web derive from these ultra low bitrate MP3's)

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Of course, they all own them and listen to them!

Yes! And they also do the evil laugh when reading our comments on the boards requesting these scores! :unsure:

Really people, what's the problem with Matessino's remark? He's just saying that whoever leaked the Family Plot sessions probably did it just to piss off someone.

It's no secret that several insiders (recording engineers or people who work at recording studios) make personal back-up copies of a lot of things and sometimes they use it as trading material (or even personal gift) with the clause to not put it on filesharing websites. In the end, it all boils down to personal ethics.

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It's just the crying out in outrage and sanctimonious "piracy" speech when someone outside of their trading circle gets them

Like 25-30 people who are really a fan of the composer will download them...so what? I'm sure that's about the amount of people here that bothered with HPSS that somehow got into the open

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I think we're reading too much between the lines. I take it just as a personal comment, no more, no less. He works as a producer for legitimate soundtrack releases, it's perfectly natural he defends his own work.

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Maybe your right.

But then again when something like the complete HPSS or Family Plot pop out of the blue you gotta wonder what's really going on. Not to mention videos on You Tube showing the CoS recording sessions track list

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