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danbeck

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About danbeck

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  1. Rambo III, Poltergeist II and the Star Wars trilogy are the first ones I still remember for the wow! factor they had for me at the time.
  2. No use of any of the Herrmann’s themes. When I first watched the movie (specially during the murder scenes) it felt a bit odd, like watching Jaws without the shark theme. Psycho III It’s a percussion based/electronic score with some voices and in some sections sounds a bit like sound design, which was very unusual at the time. I soon warmed to this very unique and bold score and it has been one of my top grails for many years.
  3. Yes... with that “exciting” battle between good and evil at the end of the movie...
  4. It’s an interesting recording but my main problem with it is that the shark theme itself / low strings are very low in the mix that also has to much reverb. When they recorded it the actual score was not available but then the Decca edition was released almost at the same time of the release of this Varese re-recording and it lost some of its appeal. I’d love a modern re-recording with a more close miked/sharp sound, including the extended album versions of some of the score tracks.
  5. If I remember correctly it was not the same analogue elements. Douglass Fake mentioned that for the Jaws 25th anniversary Decca release they had used the 5.1 remix that was prepared for the dvd and downmixed it to stereo (with lots of noise reduction)
  6. At the time I posted about the controverse on the dynamic range of LLL Superman there was this discussion happening at the FSM Board, check the posts of the users Nono and Tyuan https://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=10&threadID=124036&archive=0 They claim that on the LLL the DR was compressed, in any case I think It sounds great and was never able to compare to the WB original album myself.
  7. I acquired the Sony 2015 remasters vinyl box and it is really fantastic that they faithfully reproduced the original LPs including their labels and inserts (including a form to order a SW t-shirt [with a small disclaimer that the offer is expired]), they had a digital dowload card but the files, if I remember correctly, were not hi-res. Before receiving the LPs I had also aquired them in iTunes (but 256kbps files) at that time and they dowloaded as a single album with multiple discs, so I renamed the albums splitting the collection for each movie. Last year I noted that the downlo
  8. Yes but what I said was that in 1975 he wrote the score that gave him his first Oscar for an original score, among the other things I listed related to this particular score 🙂
  9. 1975 - writes the music that elevated Jaws to instant classic status, solidified his relationship with Spielberg, gave him his first Oscar for an original score (and that got him recommended to George Lucas for Star Wars).
  10. Not a Williams score but a good example of this is Poltergeist. MM worked both on the Rhino and FSM release from the same sources and managed to improve immensly the sound quality for the FSM.
  11. The movie seems so-so with a current 56% score on Rottentomatoes, but the score seems promissing: Nestor Bentancor Nestor Cine Desde Hollywood
  12. I was never bothered by classical music adaptations/inspiration in film scores. I tend to love Horner's scores that do it a lot like Willow. What really bothers me is the score reflecting temptracking of other scores. This is something I find highly distracting most of the time.
  13. I tend to prefer when the classical piece is used as an inspiration but adapted to fit the film score (instead of an existing recording being pasted over the movie). Some scores that I like that did that very well are: Alan Parker's JAWS 3-D with several tracks inspired by Stravinsky's Rite Of Spring James Horner short but very effective use of Prokofiev's Romeo And Juliet for the destruction of the Enterprise in Trek III John Williams' Main Title to A.I. inspired by Gayane's Ballet Adagio (which was also very effective in Horner's Aliens where it is more "note for note" qu
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