ThePenitentMan1

The more I read about Cutthroat Island, the more I want to try it out!

Time to plug Machete Order again! IV -> V -> II-> III -> VI -> Everything Else I also just read this article on it; I love the way it explains things!

I'll be honest, with most scores, I tend to be perfectly fine with dropping the score's associated songs. NIMH, though, is the exception. Flying Dreams is as beautiful as the rest of the score, and I can't see myself ever listening to the score and skipping either of its iterations. (It probably helps that I really only listen to it on special occasions. I have plenty of other "comfort food" scores... NIMH's a special treat that I don't want to over-listen to!)

Here's an edit I made just for fun (Or for those who like both versions of the Prologue but only want to keep one of them and can't decide which): I like to imagine this as more or less the version of the Prologue that Williams might've done if he were able to edit it for the OST back in 1991. This edit uses the more refined performance from the trailer version, but cuts to the alternate extended version from 0:25-0:47. (I let the alternate go all the way to 0:47 instead of cutting it at 0:37 because I like the brass in the alternate take better.) The premature percussion from the end of the alternate, I wrote off as a performance error, so it's not included here.

The end of the Lost Boys section of the End Credits is already mostly clean, albeit not for very long. The session leak's Exit Music, though it's definitely the same take, can't phase the Exit Music out of the end of the Lost Boy Chase.

Ah, I see. Thanks for the info! I can't begrudge Mike for sticking with the film's final performance edit in the Disc 1 track, as it makes sense to do so in this case. That said, I have to admit, I would've preferred to have one track with the full intact insert, and one track with the full original composition. That way, the original recording is presented uninterrupted, the full insert is applied as originally intended, and the film version can still be recreated using both tracks if desired. Fortunately, the session leak seems to have the full unedited Take 122, and the intro of the insert seems to be slow enough to discreetly cut it back to the Disc 1 version... I'll just make a couple of new edits here... Original: 4m4 - The Arrival Of Tink (Original).mp3 This only uses the session leak from 0:02-0:16, using sample-perfect edits to restore the original section of this take to the way it was recorded. The LLL's later cut to Take 123 is preserved. W/ Insert: 4m4 - The Arrival Of Tink (W~ Insert).mp3 This cuts from the Disc 3 track to the Disc 1 track at 0:17. While I do wonder if they would've used Take 202's intro, had they decided to have the Insert's intro play in the Disc 1 track instead, I think this edit sounds great as-is, and I'm perfectly content with it. In that case, it sounds like the main program version is the one to apply the (Original) tag to, as it uses Williams' full original idea for the cue. I'll restore the (Alternate) label for the Disc 3 version. Transition insert? Would this be at the beginning of the Lost Boy Chase section, or at the end?

George could've taken more care to preserve ANH and ESB's original appeal while making the prequels. But, we've got Tatooine, R2, 3PO, Yoda, and Anakin's fall to the Dark Side all onscreen with significant focus in the prequels. But, at least he never showed the cockpit view of the Hyperspace jump until ANH.

Holko: Jay:

Love is the Bridge = Star Beyond Time = Star Trek: TMP Love is the Key = Flying Dreams = Secret of: NIMH

This particular discussion isn't about missing cues, it's about the way the cues are put together.

I never posted my completed Hook, so here it is: So first off, I removed all three of the final film's songs (We Don't Wanna Grow Up, Pick 'Em Up, and When You're Alone), opting instead to put them in an as-of-yet unfinished "Hook: The Musical" playlist. 1m1 - Piano Intro/Peter's Entrance is 0:00-1:47 of We Don't Wanna Grow Up (Extended), while 1:47-end is split off as 1m3 - We Don't Wanna Grow Up. Getting a clean ending for Peter's Entrance through phase inversion turned out to be impossible, so I used 1:17-1:21 of the track to fake the ending. 1m1 - Piano Intro~Peter's Entrance.mp3 The Never-Band takes Pick 'Em Up's spot. For the alternates, I made sure to follow the booklet to correctly label each version of the cue. For the cues where the booklet didn't clarify which version was the original (I.E. Arrival of Tinkerbell and Hook's Entrance), I listened closely to the two versions to try to hear evidence of any crossfade or surplus reverb from an insert; as it turns out, the main program versions of both cues sounded more like they were the ones that had the inserts applied. (If I'm wrong, please correct me on this!) I wound up splitting off Arrival At Neverland and Slicing The Hand into their own tracks, but kept I'll Take Those Shoes and Show Us Your Hook combined. This allows me to easily take Slicing The Hand off of playlists where I don't want it in the program. Show Us Your Hook (Revised) is the version without vocals, Show Us Your Hook (Original) is ragoz350's mockup of the unrecorded cue. Much as I love the vocal version... I'm not really sure what I want to do with it anymore... The most useful thing about the inclusion of the Album version of From Mermaids To Lost Boys, to me, was that it gave me the ability to cleanly split Mermaids of off To Neverland (which I renamed "The Treehouse" for clarity). 7m1 - The Mermaids.mp3 7m2 - The Treehouse~Lost Boys Appear.mp3 I hated the sloppy transition between the cues in the film, and the album combo didn't completely fix the issue; keeping the cues separate was the ideal solution for me. And yes, I know now that the session leak had the clean split for these two cues as well, but since I didn't have that leak when I did the split, and the leak didn't really sound any cleaner than the phasing trick I did, I'm just gonna keep the edit as-is. Right now, I have Enter Rufio and Lost Boy Chase combined, since they overlap well together, but I'd probably just as easily separate them again. 7m4 - Enter Rufio~Lost Boy Chase.mp3 Take Me Out To The Ball Game is placed between Stop That Clock and Home Run. Home Run and Follow That Shadow are separated. Follow That Shadow uses the session leak for the clean opening, but unfortunately, Home Run seems to be an incorrect take in the Session Leak, so getting the clean ending for the correct take required phase inversion of the LLL 3CD tracks. (Which... sounds a little shimmery, but all in all not that bad...) 11m1 - Home Run.mp3 Using the session leak, I split off Form Ranks from the Ultimate War assembly, and instead combined it with Daddy Is Peter Pan/The Death Of Rufio (just callled The Death Of Rufio on the LLL 3CD). Not only was the listening experience nicer like this, it also led to less padding in the Alternates Section. I suppose a closer transition from Crossed Swords to Form Ranks would work as well, but then I'd wind up with really long tracks, which... isn't really my preference, at least on my home PC. Kensington Gardens is split off of My Lost Boys/Next Morning, for pretty much the same reason as To War/Crossed Swords before it. The Disc 3 track is used for the opening of Kensington Gardens; the Session Leak is used for the clean ending of Next Morning. And finally, I took the tracked Lost Boy Chase off of the End Credits using the Session Leak.

Was the Pick 'Em Up instrumental recorded as a solid three-minutes of percussion or was it only like a minute or so and looped for the film and LLL 3CD?

It's not an alternate take, it still phases itself out in Pick 'Em Up: 8m4B - The Never-Band Isolated.mp3 I'm fairly certain the mixing of the two tracks is slightly different, because there's a noticable ghost of the More Neverband cue left behind no matter how I adjust the gain on it.