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Trope

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  1. This was the second expanded score I ever purchased and I still love listening to it! Certainly one of the best 90s Horner scores, and the launch cue might be the single most epic piece of music he wrote! Has there been any discussion about the opening 45 seconds of "Into the L.E.M. (Film Version)" and why that section sounds like there is some strange phasing/microphone overlap going on? I didn't notice it until I listened with headphones and compared it to the regular album version of the same cue.
  2. I've had this CD sitting in shrink-wrap on my shelf for 9 months, waiting until December to listen to it. I just completed my first listen through of CD 1 today, and picked up on this straight away (I was listening on good headphones). It was the only noticeable audio blip on the whole first CD, particularly since the score sounds so much cleaner than the regular OST which I am used to listening to. BTW I checked CD2 and "Follow That Kid!" has the exact same scratching noise at 1:53. I compared it with the OST on Spotify, and right where the noise is on the LLL set, the OST instead has some kind of high frequency drop-out (perhaps to mask it?). Most intriguing... Regardless, I'm keen to listen to the score again, as it was a fun time (and very cartoony-feeling, with all the extra Wet Bandit musical material included on the LLL set).
  3. Does anybody know what the difference between the two Lumos! tracks is from the POA set? Are they simply different takes? Listening to them back to back, I can't aurally tell what the difference is.
  4. Both tracks are masterful and greatly evocative of innocence and childhood memories. Somewhere in My Memory is a beautiful, nostalgic Christmas song, full of joyful holiday sentiment. To me it arouses feelings of casting one's mind back to recall a happy and cherished memory. There is a wonderful lightness and sweetness about the song, and a sense of completeness. On the other hand, Christmas Star has more of a melancholic feel, heightening the separation between us and times past; as much as we think about these memories, we can never go back in time and truly relive our best experiences: they are lost to time. It has a ghostly, quasi-distant quality to it. The alternating chords at the beginning suggest the inevitability of time passing (like a ticking clock). Just some of my thoughts! I absolutely love listening to these scores around Christmas-time.
  5. Is there a chance that this will ever get re-issued/re-released? I think I love the Christmas Star theme even more than Somewhere in My Memory, but I missed out on getting this release, and now am not keen on spending $230 AUD on it...
  6. I pitch shifted the portion of Ancestral Plane to the same key as Lift Me Up. I'm more convinced there's a connection now... Ancestral Plane Excerpt (Pitch Shift).m4a
  7. When I first heard the song "Lift Me Up", the guitar melody that comes in around 0:47 instantly reminded me of 0:48 in Ancestral Plane. I wonder if this was intentional on Göransson's part.
  8. I found the trailer where the music is used and the portion of Reunion of Friends has the correct left and right channels, so it is only a mix-up on the CD track.
  9. Oh wow, so the version of Watching the Past which uses the Patronus Light chorus (in the main program) was a revision and not originally intended by JW? Does that mean both the Dementors Converge and Watching the Past were originally meant to have the same chaotic music for the patronus between them?
  10. I just finished my second complete listen through of all 7 CDs over 3 days (1 day per film) on my new headphones. Wow, these are truly brilliant scores, and the expansions allow JW to take the listener on an incredible musical journey. I believe that somewhere it was mentioned that the first section of the last track on the Prisoner of Azkaban score (Trailer) was written by someone other than John Williams. However, this was the first time I realised that the concluding statement of JW's family theme (tracked with Reunion of Friends from Chamber of Secrets?) has the stereo channels reversed. I never noticed this before! I wonder if it is like that in the actual trailer itself... Also the whole track is mastered much louder than anything else, making the opening synthetic orchestra/drum strikes even more obnoxious. Other than that slight hiccup (and the strange decision to include a portion of The Dementors Converge on the alternate Watching the Past track), I absolutely love this release. I was very impressed by Philosopher's Stone this time through, particularly the inventiveness of the children's suite and JW's masterful orchestrations. I enjoy how each movement in the suite focuses its attention on one particular section of the orchestra at a time, giving each a unique tone colour.
  11. Hi everyone. I wanted to confirm if the tracks on CD4 which are credited "arranged and conducted by William Ross" are also performed by I Salonisti. It sure sounds like it but it is not confirmed in the booklet credits. Thanks!
  12. I got this release in a recent sale and listened to the score for the first time: Wow, I really love the sense of muted patriotism and earnest emotion that pervades much of it (haven't yet seen the film). And of course, Hymn to the Fallen is just glorious. I wanted to confirm if others have heard the clicking/popping noises at the starts/ends of the tracks (except for the last 2). I don't believe this was present in the original 1998 OST. I have gapless playback, so I have to assume these sounds are actually on the tracks themselves.
  13. I got it recently and am really enjoying it. As a big Thomas Newman fan, there are plenty of characteristic sounds and colours, as well as some more ambient/dark stuff. It grows on me every time I re-listen to it! Could anyone who has the 1993 release help me out as to how I might recreate the original OST program from the 2022 version? I know it can't be 100% accurate given that different cues have been combined into single tracks in 2022, but I'd like to create something as close as possible. Many thanks if you can help.
  14. 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.
  15. This statement at about 1:29 caught my ear when I first listened to the deluxe release. The rhythmic build-up is very similar to "Chewie Untamed" (or "Flying with Chewie"), using the B theme rhythm to build up into an A theme explosion. I love the trumpet embellishments in between the main A phrases, and the brass writing is excellent all around. The little sleigh bells add some extra drive and give it an overall celebratory feeling (dare I say a little Christmas-y?).
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