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James Horner's TITANIC (2017 4CD expanded edition from La-La Land Records)


Jay

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With Titanic, that's very much the case. Many of us had theorized for decades that various bits of music heard throughout the film were part of lengthier pieces. That turned out to be true. Finally hearing it all in the context of the score is a revelation.

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Take a look at this expanded release that we bought just today. A collection of music that's been in a vault for 20 years. And the LLL team were able to preserve it intact. Should this have remained unheard in a studio for eternity when we can listen to it and enjoy it now?

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Question to all the obsessed editors out there. I'm making a huge set that includes all the source music, but it seems to be louder than the score. Is there a magic -DB amount that I can use in Audacity to make it sound better?

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3 minutes ago, NL197 said:

I never (and would never) play the score with the source music mixed into the playlist. 


Ditto!

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Your money can't save you any more than it can save me. At midnight, I will dump twenty million in cash on the crowd. And there will be entertainment. The big dukeroo. With me in one corner and in the other corner, the man who has brought real terror to Titanic: J. Bruce Ismay.

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54 minutes ago, NL197 said:

I honestly wouldn't know, because I never (and would never) play the score with the source music mixed into the playlist. 

 

I’ve tried a playlist with the Irish stuff mixed in because it seems to fit the general vibe of the score. Jack Ryan’s Polka doesn’t sound a million miles away from the Lovejoy chase for example.

 

I wouldn’t dream of mixing in the I Salostini stuff though. Well, except Nearer My God to Thee. 

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The source music conveys the opulence of the upper class on the ship. The stuff for the sinking scenes creates more of an eerie atmosphere as everything falls apart, almost in mockery of it. It all seems so carefully selected and essential to the experience.

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24 minutes ago, Bilbo said:

 

I’ve tried a playlist with the Irish stuff mixed in because it seems to fit the general vibe of the score. Jack Ryan’s Polka doesn’t sound a million miles away from the Lovejoy chase for example.

 

I wouldn’t dream of mixing in the I Salostini stuff though. Well, except Nearer My God to Thee. 

 

It's the I Salonisti music I was more referring to, though I have no plans to mix the Gaelic Storm tracks in either. I prefer the score to stand on its own. 

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Next question also about source music: the Chronological Film Score Blog claims there is an I Salonisti bootleg with unused songs. Does anyone know whether there is any evidence these tracks were indeed meant for the film, or is that a fake one?

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4 hours ago, NL197 said:

 

It's the I Salonisti music I was more referring to, though I have no plans to mix the Gaelic Storm tracks in either. I prefer the score to stand on its own. 

 

I have playlists with and without the Gaelic Storm stuff. Depends on what I feel like at the time. Understand where you're coming from though. 

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8 hours ago, bollemanneke said:

Next question also about source music: the Chronological Film Score Blog claims there is an I Salonisti bootleg with unused songs. Does anyone know whether there is any evidence these tracks were indeed meant for the film, or is that a fake one?

 

According to the liner notes from the 2012 Anniversary edition it states:

 

In two sessions, one from September 28 to October 3, 1996, and another on November 28, 1996, they were to record twenty-four soundtrack titles in the Powerplay Studio in the Swiss town of Maur.

 

The bootleg has 25 tracks, so your guess is as good as mine on the remaining track.  When I compared the tracks that matched the versions on the commercial releases, aside from some mastering, the waveforms and sound were identical.  Although I cannot guarantee it, it seems that most of the other cues were recorded during the same sessions and may be genuine.  But who knows for sure aside from the person that leaked them.

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The only two source cues that ever made an impression on me are John Ryan's Polka and Nearer My God To Thee.

 

I included the former among the score because I just think it works there, as a nice interlude between the ship setting off and all hell breaking loose. I haven't included the latter because, oddly, it's so effective in the sinking scenes that I just can't listen to it.

 

For the rest of the source cues, it's awesome to have them for those who got attached to something playing in the background of one of the dinner scenes, but they're not for me.

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Does anyone know where I can find the short little solo flute motif that opens the film credits? It's used over the James Cameron title card right after the final shot and before the Celine Dion song kicks off.

 

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Well that sucks.

 

But yeah, I guess it can be ripped but it would've been nice to have a clean opening (or if it was part of a longer solo composition, to end the listening experience).

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Yeah that's what I was thinking, it sounds like an alternate ending to "Rose" without the piano. Quite a memorable piece of scoring.

 

They had plenty of space on the first 3 discs to include it, pity they didn't. I understand the omissions of previously released source music or suites that weren't recorded during the film sessions, but it's unusual that LLL would just disregard such prominent music featured in the film. They even went to the trouble of including cues without synth overlays.

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