NL197

Hoping Spidey's got some 30 year old Sneakers for his 20th birthday. 

Probably not, but we all have our hopes. 

Sneakers might be a possibility for a 30th anniversary expanded release. 
 
10 years ago LLL said they tried to expand it but was turned down with no explanation given. In those 10 years LLL has done a ton of Universal (and Sony) titles so that makes me think there's a chance.  

Sneakers might be a possibility for a 30th anniversary expanded release. 
 
10 years ago LLL said they tried to expand it but was turned down with no explanation given. In those 10 years LLL has done a ton of Universal (and Sony) titles so that makes me think there's a chance.  

Sneakers might be a possibility for a 30th anniversary expanded release. 
 
10 years ago LLL said they tried to expand it but was turned down with no explanation given. In those 10 years LLL has done a ton of Universal (and Sony) titles so that makes me think there's a chance.  

Sneakers might be a possibility for a 30th anniversary expanded release. 
 
10 years ago LLL said they tried to expand it but was turned down with no explanation given. In those 10 years LLL has done a ton of Universal (and Sony) titles so that makes me think there's a chance.  

Sneakers might be a possibility for a 30th anniversary expanded release. 
 
10 years ago LLL said they tried to expand it but was turned down with no explanation given. In those 10 years LLL has done a ton of Universal (and Sony) titles so that makes me think there's a chance.  

It's 4 minutes shorter than Titanic. 

The contents look like it’s the same as the promotional CD

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

The OST was abysmal. 

Set aside the dialogue intrusion and the mess of songs, the (few) score cues there were, weren't the best sounding because they likely had to try and boost them to match the songs. It was just all-around bad. 

The promo was a revelation in comparison. To have even that just be made legit would be great. 
 
Christmas comes early!

Secret Star Wars film: 




Secret Star Wars film by Damon Lindelof: 

Secret Star Wars film: 




Secret Star Wars film by Damon Lindelof: 

Okay this is nuts: 

The 4K audio for Independence Day has the SCORE REMOVED from the Welcome Wagon / Oval Office additional
scene so the audio cut is not so jarring anymore. 

WOW. I had NO idea until I decided to revisit that just now. 
 
 

Hi everyone. After recently discovering the whole Schindler's List 2CD expansion issue, where additional non-OST tracks included on CD2 were of a lower quality (discovered by comparing files in an audio spectrum analyser), I thought I would go through my current library of expanded scores to see if there were any other mastering/audio "problems" that I had missed.
 
I discovered something quite interesting for this 4CD Titanic expansion (one of my favourites ever, if you read further back in this thread): it seems that there is a slight frequency cutoff for tracks which appeared on the 1997 OST when compared to the previously unreleased music included in the 2017 expansion. I will include screenshots comparisons here. This difference is consistent across every single OST track. I'm not sure what it means or how it affects the sound (apart from potentially making the OST tracks slightly quieter?...), but I would love to hear from anyone who could shed some light on this, just out of curiosity if nothing else.
 
What I'm talking about is demonstrated most clearly when looking at the extended Hard to Starboard track. The previously unreleased opening and ending have a frequently range all the way up to 22kHz, but as soon as the main portion of the track plays (which appeared on the 1997 OST), the very top frequencies suddenly drop down. Compare that to the "alternate" version of Hard to Starboard (previously unreleased) and check out the full frequency range across the whole track. Again, not sure what to make of it; I'm just visually comparing what I'm seeing.
 
 

Independence Day is exactly the same in terms of its bad editing of the score for the added scenes. 

Unlike Stargate, the theatrical of iD4 is the (far) better version, though some scenes in the extended are interesting enough. The problem is the audio mix for them is essentially mono and likely temp. The two worst examples of the music not flowing with the film are: 

1. The short added scene during the "Welcome Wagon" sequence where David and his father Julius are in the Oval Office. Julius is mesmerized by simply being there, which prompts David to joke that "imagine a poor immigrant like me. It's a dream!"

The scene not only breaks the tension too much, but literally breaks the sequence (and music) in two - it's dropped in there with no style or effort whatsoever. 
 
2. in the height of the end battle sequence, after the brief moment of levity with Julius gathering people to pray and Nimziki saying he's not Jewish ("nobody's perfect" Julius remarks. Unlike the added Oval Office scene this light tension breaker works well here - and it's theatrical) another scene is just dropped in without any effort put into it: This whole unnecessary subplot of the Casse children / daughter bonding with another kid (the curly-haired kid from "My So Called Life") was added to this extended cut, and culminates in a lame payoff of an earlier joke of the daughter not wanting to die a virgin. Very low in the audio mix you can hear the faintest bit of "Master Alarm" from Horner's APOLLO 13 in there, clearly temp score (as Arnold mentioned in the LLL album liner notes). 
 
I adore Independence Day. All these years later it's still one of my dearest favorite movies (and favorite score) but man...the extended cut isn't worth a watch more than once. 
 
 
As for that abrupt cut in the Stargate music, I think I know which scene you mean: 

The 'Slave Rebellion' sequence was extended with a sandstorm and the music cuts were just piss-poor. Just awful.
 

Independence Day is exactly the same in terms of its bad editing of the score for the added scenes. 

Unlike Stargate, the theatrical of iD4 is the (far) better version, though some scenes in the extended are interesting enough. The problem is the audio mix for them is essentially mono and likely temp. The two worst examples of the music not flowing with the film are: 

1. The short added scene during the "Welcome Wagon" sequence where David and his father Julius are in the Oval Office. Julius is mesmerized by simply being there, which prompts David to joke that "imagine a poor immigrant like me. It's a dream!"

The scene not only breaks the tension too much, but literally breaks the sequence (and music) in two - it's dropped in there with no style or effort whatsoever. 
 
2. in the height of the end battle sequence, after the brief moment of levity with Julius gathering people to pray and Nimziki saying he's not Jewish ("nobody's perfect" Julius remarks. Unlike the added Oval Office scene this light tension breaker works well here - and it's theatrical) another scene is just dropped in without any effort put into it: This whole unnecessary subplot of the Casse children / daughter bonding with another kid (the curly-haired kid from "My So Called Life") was added to this extended cut, and culminates in a lame payoff of an earlier joke of the daughter not wanting to die a virgin. Very low in the audio mix you can hear the faintest bit of "Master Alarm" from Horner's APOLLO 13 in there, clearly temp score (as Arnold mentioned in the LLL album liner notes). 
 
I adore Independence Day. All these years later it's still one of my dearest favorite movies (and favorite score) but man...the extended cut isn't worth a watch more than once. 
 
 
As for that abrupt cut in the Stargate music, I think I know which scene you mean: 

The 'Slave Rebellion' sequence was extended with a sandstorm and the music cuts were just piss-poor. Just awful.
 

So, I’ve been playing this score a lot lately, and over the weekend decided to revisit the film in order to see the context for all the music
 
I ended up watching the Extended Cut, which overall I found to be a better film than the Theatrical cut.  The one downside, though, is that it’s extremely clear that Arnold never scored any of the footage they put back in (other than the opening Abduction scene), which is to be expected.... however the problem is that whoever was in charge of adding music to the new scenes did a very bad job!  Often the tone of the music put in didn’t really match the tone of the scene, but much worse is that some of the edits are super noticeable and jarring, not smooth at all.  There was one time where a cue was artificially ended so abruptly and obviously I wondered how it ever passed whatever quality control they had when making this cut… 
 
So long story short, if you want to watch the film solely to appreciate the score, watch the theatrical cut; If you want a more developed story with more character development, watch the Extended Cut - but just be prepared to be annoyed by bad music edits in some of the additional scenes  

After watching the film, I went to see if the original cue titles were in GEMA, and it turns out they are!  After finding them all and sorting through them, I learned that there are actually many times on the original soundtrack album where Arnold actually put two cues together in one track, though in all cases they are cues that are also joined in the film (though the transition between cues is not always the same).
 
Here’s a quick table showing all of Arnold’s original titles (well, at least the titles on the official cue list, we all know sometimes sheet music has different titles than the official cue list) and how they relate to album names:
 

  Cue LLL Varese Deluxe OST 1 Main Title Stargate Overture Stargate Overture Stargate Overture 2 not in film Abduction Wild Abduction   3 Giza 1928 Giza, 1928 Giza, 1928 Giza, 1928 4 Envelope Unstable Unstable Unstable 5 Unstable, Part 1 6 Unstable, Part 2     7 The Coverstones The Coverstones The Coverstones The Coverstones 8 Translation Translation Translation   9 In Case You Succeed In Case You Succeed     10 Orion Discovery Orion Orion Orion 11 The Stargate Opens The Stargate Opens The Stargate Opens The Stargate Opens 12 Send In The Probe Send In The Probe     13 You’re On The Team You’re On The Team You’re On The Team You’re On The Team 14 Commencement Sequence 15 Entering The Stargate Entering The Stargate Entering The Stargate Entering The Stargate 16 Galactic Rush 17 The Other Side The Other Side The Other Side The Other Side 18 Bomb Assembly #1 Bomb Assembly Bomb Assembly   19 Bomb Assembly #2 20 Mastadge Mastadge Drag Mastadge Drag Mastadge Drag 21 The Mining Pit The Mining Pit The Mining Pit The Mining Pit 22 King Of The Slaves King Of The Slaves King Of The Slaves King Of The Slaves 23 Caravan To City Caravan To Nagada Caravan To Nagada Caravan To Nagada 24 The Eye Of Ra The Eye Of Ra The Eye Of Ra   25 Sari's Moon Daniel And Sha’uri Daniel And Sha’uri Daniel And Sha’uri 26 Spread Out Spread Out     27 Skaara And Gun Skaara And Gun     28 Symbol Discovery Symbol Discovery Symbol Discovery Symbol Discovery 29 Sarcophagus Opens Sarcophagus Opens Sarcophagus Opens Sarcophagus Opens 30 Mastadge Finds Dan Daniel’s Mastadge Daniel’s Mastadge Daniel’s Mastadge 31 Leaving Nagada Leaving Nagada Leaving Nagada Leaving Nagada 32 Ra's Entrance Ra – The Sun God Ra – The Sun God Ra – The Sun God 33 Daniel's Death 34 Attack On Nagada The Destruction Of Nagada The Destruction Of Nagada The Destruction Of Nagada 35 Nagada Destroyed 36 Myth, Faith, Belief Myth, Faith, Belief Myth, Faith, Belief Myth, Faith, Belief 37 Processional Procession Procession Procession 38 Slave Rebellion Slave Rebellion Slave Rebellion Slave Rebellion 39 We Don’t Want To Die We Don’t Want To Die We Don’t Want To Die We Don’t Want To Die 40 Execution Execution Execution   41 The Kiss The Kiss The Kiss   42 The 7th Symbol The Seventh Symbol The Seventh Symbol The Seventh Symbol 43 Against The Gods, Part 1   44 Against The Gods, Part 2 Against The Gods Against The Gods   45 Quartz Shipment Quartz Shipment Quartz Shipment Quartz Shipment 46 The Battle Battle At The Pyramid Battle At The Pyramid Battle At The Pyramid 47 The Battle Continues 48 The Countdown Begins 49 The Surrender The Surrender The Surrender The Surrender 50 Transporter Horror Transporter Horror Transporter Horror   51 Kasuf Returns Kasuf Returns Kasuf Returns Kasuf Returns 52 The End of Ra 53 Last Salute Going Home Going Home Going Home 54 Going Home 55 End Credits End Credits Closing Titles (Intro)  
So with all this in mind, I can quickly break down how Arnold constructed his original OST album
 
The take(s) chosen for the album are all the same as the film except for a few spots I will point out throughout
 
1 Stargate Overture (3:01)
“Main Title” 2 Giza, 1928 (2:10)
“Giza 1928” 3 Unstable (2:07)
0:00-0:26 = “Envelope” 0:16-end = “Unstable (Part 1)” In the film, “Envelope” plays almost all the way to the very end of the recording before “Unstable (Part 1)” comes in just as its finishing up; Neil re-created this timing exactly in the LLL track “Unstable (Film Version)”.  For the original score album, Arnold has “Unstable (Part 1)” come in super early, overlapping most of the final chord of “Envelope”.  
 
In the film, “Unstable (Part 2)” comes in as “Unstable (Part 1)” is finishing up, again exactly re-recreated by Neil for the LLL album. The original score album omits “Unstable (Part 2)” entirely, giving us the full clean ending to “Unstable (Part 1)”
 
4 The Coverstones (0:58)
“The Coverstones” 5 Orion (1:29)
“Orion Discovery”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 1:00-1:10, when the military theme plays on brass.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where the brass military theme was taceted out, and that version went into the film (and LLL main program).  
 
This is also the only cue noticeably edited down in the final cut of the film, some footage was clearly removed around the spot where he holds the newspaper up next to the Orion glyph.  Whatever it was, was not restored for the Extended Cut.
 
6 The Stargate Opens (3:58)
“The Stargate Opens” 7 You're On The Team (1:55)
0:00-1:09 = “You’re On The Team” 1:06-end = “Commencement Sequence” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
8 Entering The Stargate (2:57)
0:00-2:29 = “Entering The Stargate” 2:26-end = “Galactic Rush” These two cues do overlap in the film, but were crossfaded together much more tightly for the album version where-as in the film "Entering The Stargate" has more room to breath at the end before "Galactic Rush" begins.  Neil re-created the join as heard in the film exactly for the LLL main program.
 
9 The Other Side (1:44)
“The Other Side” 10 Mastadge Drag (0:56)
“Mastadge” 11 The Mining Pit (1:34)
“The Mining Pit” 12 King Of The Slaves (1:15)
“The King Of Slaves” The final film mixes in a low string chord (recorded as a pick-up opening) over the beginning, starting the music a bit earlier than initially spotted, but the album presents the originally-intended opening
 
13 Caravan To Nagada (2:16)
“Caravan To City” 14 Daniel And Sha’uri (1:53)
“Sha’uri's Moon” (misspelled “Shari’s Moon” on the official cue list) 15 Symbol Discovery (1:15)
“Symbol Discovery” 16 Sarcophagus Opens (0:55)
“Sarcophagus Opens” Arnold chose not to include the choir on the album that is heard in the film mix
 
17 Daniel's Mastadge (0:49)
“Mastadge Finds Dan”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 0:26-end, a full lush ending to the piece.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where a lot of the instruments are faceted out, creating a more subdued ending, and that version went into the film (and LLL main program).
 
18 Leaving Nagada (4:09)
“Leaving Nagada”, part of which is a different take than what the film uses It is clear to me that the album represents Arnold’s original and preferred version of the cue.  The noticeable difference is the part from 3:03-3:26, with a fuller brass performance.  Someone must have decided it was a bit too much for the film itself, so a take was recorded where some of the brass was tacted out, and that version went into the film (and LLL main program).
 
19 Ra - The Sun God (3:22)
0:00-2:10 = “Ra’s Entrance”, an entirely different take than the film uses 2:08-end = “Daniel’s Death” I don’t know exactly what it is about the take(s) heard on the album that Arnold preferred over the take(s) in the film, but they are entirely different performances from one another, most noticeable in the slightly different ending.  The film version also has choir that is not heard on the album.  
 
“Daniel’s Death” seems to be exactly the same take(s) in the film and the album, the segue from either version of "Ra's Entrance" into it seems to be about the same between the album and film.
 
20 The Destruction Of Nagada (2:08)
0:00-0:35 = “Attack On Nagada” 0:31-end = “Nagada Destroyed” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
21 Myth, Faith, Belief (2:18)
“Myth, Faith, Belief” 22 Procession (1:43)
“Processional” 23 Slave Rebellion (1:00)
“Slave Rebellion” 24 The Seventh Symbol (0:57)
“The 7th Symbol” In the film, the ending of this cue segues directly into “Against The Gods (Part 1)”, but Arnold didn’t include that cue on the score album at all, giving us the full clean ending of “The 7th Symbol”.  “Against The Gods (Part 1)” was appended to this cue for both the Varese Deluxe Edition and LLL main program.  
 
Curiously, there’s a whole unscored scene in the film before “Against The Gods (Part 2)” plays, so it’s a bit odd Arnold gave both compositions the same cue name instead of two different ones.
 
25 Quartz Shipment (1:27)
“Quartz Shipment” 26 Battle At The Pyramid (5:02)
0:00-2:10 = A slightly altered arrangement of “The Battle” and “The Battle Continues” combined together and recorded just for the album 2:09-end = “The Countdown Begins” So this is an interesting one.  The film has the cue “The Battle”, a pause, “The Battle Continues”, another pause, and then “The Countdown Begins”.  “The Battle” and “The Battle Continues” both technically debuted on the LLL set, because for the original score album, instead of these 2 cues, we get a unique recording that takes the material in both of them and records it as a single piece without a pause in between them.  Additionally, the album segues right into “The Countdown Begins” so the full clean ending of this album-only recording is not available anywhere.  As far as I can tell, “The Countdown Begins” is the same take(s) in the film and the album.
 
27 We Don't Want To Die (1:57)
“We Don't Want To Die” This is the only track out of chronological order on the score album (chronologically it would go right after “Slave Rebellion”)
 
28 The Surrender (1:44)
“The Surrender” 29 Kasuf Returns (3:06)
0:00-1:32 = “Kasuf Returns” 1:32-end = “The End of Ra” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 
30 Going Home (3:09)
0:00-1:17 = “Last Salute” 1:17-end = “Going Home” These two cues are joined in the film as well, and the transition seems to be about the same as the album.
 

Brilliantly sadistic as Kai Winn on DS9.