crumbs 14,313 Posted December 9, 2018 Share Posted December 9, 2018 I hope it's hidden somewhere obscure, like right in the middle of the Knight Bus alternate, at the same time as something really loud! TSMefford and Pieter Boelen 1 1 Link to comment Share on other sites More sharing options...
Chewy 2,388 Posted December 9, 2018 Share Posted December 9, 2018 Maybe it's hidden in a cue from COS. Aunt Marge Points The Finger might have been composed by William Ross, would make sense. Link to comment Share on other sites More sharing options...
redishere 697 Posted December 9, 2018 Share Posted December 9, 2018 Can’t wait to grasp this boxset! From what I’m reading, I think I’m gonna love the way the cues are presented! TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post mrbellamy 6,286 Posted December 9, 2018 Popular Post Share Posted December 9, 2018 Listened to POA last night, a big takeaway was that section from The Three Broomsticks to The Executioner. It's the most plaintive section of the film and where I really felt Cuaron's request for a more haunted and abstract musical approach kick in. It does feel like a bit of a missing ingredient from the soundtrack, which bounces around a little more wildly like an eclectic mix tape. This score follows a winding but fluid road, full of hills and valleys. Introspective at its heart with the big setpieces serving as checkpoints, generally following the lead of whatever new territory the underscore is dipping into, with the Double Trouble and Past themes as co-tour guides. And it's a nice breather to feel the score fade away into 20 minutes of reflection and textural exploration before returning to more propulsive music as it ramps into the third act. No less entertaining either, always something going on. I also have to say the "Hedwig's Theme" reprisal in the end credits hit me in an interesting way. Not necessarily what he intended but it makes a nice bookend, feels less of an incomplete achievement and more of a distinctly colorful and emotional finale to a fine trilogy. I think it'll be really fun to go through all three in order. DJMcNiff, Smeltington, Brundlefly and 7 others 10 Link to comment Share on other sites More sharing options...
Once 605 Posted December 9, 2018 Share Posted December 9, 2018 1 hour ago, mrbellamy said: Listened to POA last night, a big takeaway was that section from The Three Broomsticks to The Executioner. I'd include "The Walk to Buckbeak". I don't have to set yet, but based on the movie that section is indeed the one I'm looking forward to the most. Thank you for writing such a reflective comment on the score. I'm looking forward to it even more now. 😊 Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 9, 2018 Author Share Posted December 9, 2018 2 hours ago, mrbellamy said: I also have to say the "Hedwig's Theme" reprisal in the end credits hit me in an interesting way. Not necessarily what he intended but it makes a nice bookend, feels less of an incomplete achievement and more of a distinctly colorful and emotional finale to a fine trilogy. I think it'll be really fun to go through all three in order. Not what who intended? It's clearly what Williams intended, you can see it right in the sheet music leak Once 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted December 9, 2018 Share Posted December 9, 2018 I think he meant that it didn’t “hit him” in the intended way? Not sure what that would mean specifically Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 9, 2018 Author Share Posted December 9, 2018 Hmm, but I think Williams wanted it to feel like a bookend. I dunno. Link to comment Share on other sites More sharing options...
Popular Post mrbellamy 6,286 Posted December 9, 2018 Popular Post Share Posted December 9, 2018 I mean that although he didn’t intend for POA to be the last one, having a full statement of Hedwig’s Theme in the last suite puts a nice little period on the three scores altogether, especially when the rest of #3 is such a departure. Holko, DJMcNiff, Cerebral Cortex and 2 others 5 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted December 9, 2018 Share Posted December 9, 2018 Ohhhhh Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 9, 2018 Author Share Posted December 9, 2018 I doubt we'll ever know if he intended for HP3 to be his last HP score ever or not The fact is post-HP, he's only scored Star Wars and Spielberg films, with the sole exception of Memoirs of a Geisha and The Book Thief, which were both books he liked bollemanneke 1 Link to comment Share on other sites More sharing options...
mrbellamy 6,286 Posted December 9, 2018 Share Posted December 9, 2018 I think that he probably was satisfied with his work and not chomping at the bit to do more, but that the door was always open and would have taken the opportunity of the full series as seriously as anything else. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,355 Posted December 10, 2018 Author Popular Post Share Posted December 10, 2018 Who knows, if HP4 wasn't coming out the same winter as both Geisha and Munich, maybe he would have been interested. But would Mike Newell have been interested? I have no idea. Once, bollemanneke and DJMcNiff 3 Link to comment Share on other sites More sharing options...
crumbs 14,313 Posted December 10, 2018 Share Posted December 10, 2018 Given the dearth of scoring projects Williams undertook between '05-'11, I really wonder if the difference between him scoring all the sequels vs stopping after PoA was simply the bad timing of GoF's release (during the same year he was already scoring four movies). If GoF was a 2006 summer movie rather than Nov 2005, does Williams end up scoring the entire series? Sadly we'll never know but I'd like to think so. Once 1 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted December 10, 2018 Share Posted December 10, 2018 5 hours ago, Jay said: Hmm, but I think Williams wanted it to feel like a bookend. I dunno. The last note literally sounds like a punctuation mark. Like he said I'm done with this, period. bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,355 Posted December 10, 2018 Author Popular Post Share Posted December 10, 2018 You mean the last note on the OST, right? Because we're talking about the new end credits on the LLL set, which is different. Incidentally, Mike made sure to include that OST ending in the set as well. Once, DJMcNiff and bollemanneke 3 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 Just got my set... Is "Fire Bolt and End Credits Suite" supposed to go from Hedwig's theme to a really awkward cut in to the opening of that cue as it was in the OST? Like there is a statement of Hedwig's theme, then the opening part from "Mischief Managed" as we know it, except the first seconds have been strangely cut and it sounds like a really bad analog edit. Surely this was not intentional? Was my disc misprinted? Has this already been discussed? I'm hoping it was some kind of error because it sounds very bad. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,355 Posted December 10, 2018 Author Popular Post Share Posted December 10, 2018 I don't really understand what you're saying . Can you use timestamps to explain what you're saying better? Edit: I understand what you're saying now. You're hearing the grace note that was added to slightly extend the cue. You can hear it in the film itself. Mike and I discussed editing it out, but we decided to leave it in. DJMcNiff, bollemanneke and Once 3 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 I am starting to think my disc was misprinted. So, “Firebolt and End Credits Suite,” the first 5 seconds or so are a statement of Hedwig’s theme on solo celeste. Then, once that plays, it cuts into the “Mischief Managed” cue, already several seconds into playing. Like it sounds as though the first 5 seconds of the “Mischief Managed” cue have been cut out and replaced with a 5 second Hedwig theme statement. It sounds like a glitch or an error. That is what I hear when I play the track. I am assuming that Hedwig’s theme statement is not supposed to play there. Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 10, 2018 Author Share Posted December 10, 2018 Yeah, see my edited post above. Nothing's missing. Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 So it is actually supposed to sound like this? : https://drive.google.com/file/d/10m7QlmV4cHsxm4eE6vPoC7SxsQaidiOV/view That edit is... pretty questionable. Jacck 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 10, 2018 Share Posted December 10, 2018 Only the opening of the credits is a bar longer than on the actual release. bollemanneke and Once 2 Link to comment Share on other sites More sharing options...
mrbellamy 6,286 Posted December 10, 2018 Share Posted December 10, 2018 I think Jay’s saying that’s actually not an edit, it’s how it was performed. I do think it’s musically better without tbh, and I’m so used to hearing it that way, but I appreciate the decision to leave things unaltered when in doubt. Link to comment Share on other sites More sharing options...
MrJosh 892 Posted December 10, 2018 Share Posted December 10, 2018 4 minutes ago, Taikomochi said: So it is actually supposed to sound like this? : https://drive.google.com/file/d/10m7QlmV4cHsxm4eE6vPoC7SxsQaidiOV/view That edit is... pretty questionable. It doesn't sound like it starts part of the way through to me, it sounds like there's just a pick-up note before the first measure. Once and Bilbo 2 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 Maybe I am just being dumb. That’s always a likely scenario Link to comment Share on other sites More sharing options...
Popular Post Jay 37,355 Posted December 10, 2018 Author Popular Post Share Posted December 10, 2018 Yes, it's a grace note. When I first heard it, I thought it was a glitch too, honestly. I brought it up to Mike and he confirmed it was like that in the recording itself. We debated back and forth on all the pros and cons between editing it out or leaving it in, and it certainly wasn't an instant decision. We decided to leave the recording intact rather than edit it. I agree that, ultimately, it sounds better (IE, it is more musically sound) without it, so I can see why they edited it out for the OST. But I think it would have been weird to edit out something he recorded from any cue. If you really want to get rid of it, you can use the edited version on the OST, or the recording of the original cue from the alternates section here. bollemanneke, Taikomochi, Holko and 5 others 7 1 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 That makes a lot more sense. I am working and didn’t have the time to closely examine it. Never mind then 😅 Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 10, 2018 Author Share Posted December 10, 2018 No reason to be sorry at all, it's a valid valid thing to bring up. I knew it would come up eventually as soon as we decided to leave it in Taikomochi 1 Link to comment Share on other sites More sharing options...
Popular Post Disco Stu 15,495 Posted December 10, 2018 Popular Post Share Posted December 10, 2018 At least half the reason it sounds weird is just because I'm so used to the OST opening. It doesn't sound bad in that sample, just not what my brain expects. I'll get used to it. bollemanneke, Once and Holko 3 Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 10, 2018 Author Share Posted December 10, 2018 I've gotten used to it. Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 10, 2018 Share Posted December 10, 2018 Now that my immediate freak out has been quelled, I think leaving it as is was the right choice. Link to comment Share on other sites More sharing options...
Jay 37,355 Posted December 10, 2018 Author Share Posted December 10, 2018 Basically if Cuaron hadn't edited the picture after Williams wrote the cue, we wouldn't have this situation. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 10, 2018 Share Posted December 10, 2018 I will lose the celesta opening. These scores are plastered with them. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted December 10, 2018 Share Posted December 10, 2018 From my limited but focused sneak peek I noticed The Chamber Opens is only the replacement of the 3NL buildup, so it's half the intended cue, building up to nothing and continuing with the next cue that's almost written to pick the 3NL's moody playoff up. That will definitely bother me for a while on album, will edit in The Stone as soon as possible for the digital playlist. Link to comment Share on other sites More sharing options...
Popular Post Alex 2,835 Posted December 10, 2018 Popular Post Share Posted December 10, 2018 How great is The Children’s Suite. So glad that was included. Incanus, DJMcNiff, Molly Weasley and 3 others 6 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted December 10, 2018 Share Posted December 10, 2018 I'm just glad they made the last-minute decision to go from 6 to 7 discs after reading my post On 10/27/2018 at 8:13 AM, Disco Stu said: Guys I’m sorry but an HP1 without the children’s suite would have to be categorized as a disappointment for me. Molly Weasley 1 Link to comment Share on other sites More sharing options...
Alex 2,835 Posted December 10, 2018 Share Posted December 10, 2018 For some reason whenever I hear the brass fanfare in “Platform Nine and Three Quarters” (when the Hogwarts Express is revealed), I expect it to go into the version of the thieves theme from Home Alone II (2.43 in “The Thieves Return”). Maybe they end of the same chord, I dunno. Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 10, 2018 Share Posted December 10, 2018 7 minutes ago, Alex said: For some reason whenever I hear the brass fanfare in “Platform Nine and Three Quarters” (when the Hogwarts Express is revealed), I also expect it to go into the version of the thieves theme from Home Alone II (2.43 in “The Thieves Return”). Maybe they end of the same chord, I dunno. Holy shit you're right. I totally get it. Someone make an edit, stat! bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Demondm810 399 Posted December 11, 2018 Popular Post Share Posted December 11, 2018 This set is WOW. I’ve been so used to the sessions for Chamber, hearing the full power of the LSO in this set was incredible! I also relished in every Peter Pettigrew motif. This will take a LONG time to completely take in. And Christ, Williams original end credit suite for Azkaban is amazing. TSMefford, Once and MrJosh 3 Link to comment Share on other sites More sharing options...
Popular Post mrbellamy 6,286 Posted December 11, 2018 Popular Post Share Posted December 11, 2018 So, I don't have anything original to say about the first score. It's my gateway John Williams score and just brilliant stuff. Orchestras could (should!) perform this without visual accompaniment and audiences would be enchanted throughout. Among the handful of Williams scores that could pull that off in their entirety. Or film scores in general. Or any musical work at this length. In a way, Williams pulls the same trick that JK Rowling did for kids who didn't think they liked reading. The orchestra is fun! I also threw in The Leaky Cauldron and Hagrid's Flute just because I liked having them in there. I enjoyed the contrast of "Hagrid's" solo after The Stone, makes for a cool, stark intro before the last leg of the score. Foreshadows POA a bit too. COS is peculiar. I actually really enjoy the reprisals early on, but once The Flying Car kicks in, it kinda feels like the official announcement of a new musical journey. As a marathon experience, the copy/pasting gets distracting after that. "Cornish Pixies" was when it started to feel like a drag for me and then getting into "Quidditch Second Year" or certain underscore cues that weigh almost exclusively on HP1 material (especially when there are a few in a row), it definitely gets a bit like: Terrific but suffers in complete form since it's a nearly 3 hour movie that Williams couldn't devote his full attention to. Besides the handful of essential reprisals and new variations, there's a more focused 100 minute mystery/suspense score in here featuring some awesome bottom-heavy action writing and fantasy material that manages to be as wondrous and weird as the first. And I just love POA. It's a great third act. The underscore is spooky and contemplative, the action music aggressive, but still with the warmth, whimsy, eclecticism, and virtuosity to make it all a fitting finale to parts one and two. He finished his run with such heart and gravitas and the gift of this set is that it feels like a complete achievement. Incanus, Holko, DJMcNiff and 5 others 8 Link to comment Share on other sites More sharing options...
Lockdown 238 Posted December 11, 2018 Share Posted December 11, 2018 Can we discuss now why POA uses lossy sources in about 4 cues? crumbs and redishere 2 Link to comment Share on other sites More sharing options...
bollemanneke 3,346 Posted December 11, 2018 Share Posted December 11, 2018 Uh-oh, which cues would that be? Link to comment Share on other sites More sharing options...
Lockdown 238 Posted December 11, 2018 Share Posted December 11, 2018 Knight Bus, Drum Overlay for Buckbeaks Flight, Reviewing The Recent Past and Knight Bus alternate as well. All of which are lossless on the OST, correct..? (Specifically Newspaper Headliner Part 1) The odd thing is though, most of the cue itself is lossless, but they are a number of cues edited together, so you can tell where the edits were made and can see the clear cutoff at 16kHz.. Link to comment Share on other sites More sharing options...
redishere 697 Posted December 11, 2018 Share Posted December 11, 2018 10 minutes ago, Lockdown said: Knight Bus, Drum Overlay for Buckbeaks Flight, Reviewing The Recent Past and Knight Bus alternate as well. All of which are lossless on the OST, correct..? (Specifically Newspaper Headliner Part 1) The odd thing is though, most of the cue itself is lossless, but they are a number of cues edited together, so you can tell where the edits were made and can see the clear cutoff at 16kHz.. This is indeed really odd. Hope my ear doesn’t catch these lossy bits. Link to comment Share on other sites More sharing options...
Lockdown 238 Posted December 11, 2018 Share Posted December 11, 2018 Maybe a re-pressing of Prisoner is in order? https://imgur.com/a/kneHmwD Link to comment Share on other sites More sharing options...
crumbs 14,313 Posted December 11, 2018 Share Posted December 11, 2018 So the frequencies are cut off above 16 kHz in sections? That's weird. The same segments on the OST don't have that cutoff (at least in the directly comparable sections like Watching the Past or the start of Buckbeak's Flight, unless MM used different takes from the OST for those portions?) Link to comment Share on other sites More sharing options...
Lockdown 238 Posted December 11, 2018 Share Posted December 11, 2018 I don't know why he would need to do that, but I also didn't configure this set either. I hope something will come to light, as this really shouldn't be happening on official sets.. Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted December 11, 2018 Share Posted December 11, 2018 Does this mean noticeable to the common ear, or noticeable through high end speakers? redishere 1 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted December 11, 2018 Share Posted December 11, 2018 That's the real question here, yeah. bollemanneke 1 Link to comment Share on other sites More sharing options...
redishere 697 Posted December 11, 2018 Share Posted December 11, 2018 16 minutes ago, gkgyver said: Does this mean noticeable to the common ear, or noticeable through high end speakers? 1 minute ago, Holko said: That's the real question here, yeah. Exactly. It's indeed a bit weird since MM clearly put his heart, mind and soul in the creation of this collection, and don't get me wrong, this pisses me off a bit 'cause as @Lockdown said, this shouldn't happen in official remastered releases, and this is a quite big one (and not that cheap, even if I still think 100$ is a bargain). But if my untrained ear doesn't notice the difference, I'll let it pass. But if there is really this issue, an explanation would be welcome. Link to comment Share on other sites More sharing options...
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