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Michael Giacchino's Star Trek


Jay
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They ideally should have been on the DE, but of course choir fees played into the costs.

So they are leaked instead and now no one gets paid. Great business model they got there.

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If they included every recorded cue with no microedits or missing instruments/choir, then we'd have nothing to complain about!

... expect maybe the pathetic booklet :P

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Sucks to be me, I guess. :)

I know if money was no object, I'd get Varese involved with a re-release of the score that addresses the missing choir, odd edits, missing instruments/overlays, and get some descent liner notes.

I know, wishful thinking. :)

I'm not going to dump on Varese too much, as they did get more of the score out there, within a relatively quick timeframe of the OST.

I love it for what it is, dispite the flaws.

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Its still a great score, and Varese's 90% complete version is still very enjoyable. And hopefully down the road another label will be able to release it properly

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It would've been cooler if the packaging contained a trap door to cardboard cutouts that could be used to turn the saucer section CDs into bonafide starships. Paper dolls for soundtracks. In a soundtrack set that used such an obtusely large packaging, it would not have been any more out of place.

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So with these "leaked" choir cues from the recording sessions and the "Chutes And Matter" insert at the end, what is left to make it the perfect score? Alt Main Titles, Correct opening to "I've Fallen And I Can't Beam Up", and the choir from "Nero Fiddles, Narada Burns" (which is fine with Data's edit)? Is that it?

Which reminds me, anyone notice the additional Ehru in "Welcome Back, Spock"? Pretty cool stuff!

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What Chutes and Matter insert are you referring to? The Varese DE contains the exact Chutes and Matter cue that Giacchino wrote. In the film, they replaced part of the ending with material tracked from "Spock Bans Offshore Drilling", but that wasn't his original intention for the scene.

And yes, the first post of this thread points out that the distorted ehru is missing on the DE from Welcome Back, Spock. in fact, Welcome Back, Spock on the DE matches the film version (other than the choir), so therefore contains a loop as well

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The booklet sucks and the packaging is too big, but those saucer section discs are friggin' awesome.

It sure looks nice on my shelf. ;)

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So with these "leaked" choir cues from the recording sessions and the "Chutes And Matter" insert at the end, what is left to make it the perfect score? Alt Main Titles, Correct opening to "I've Fallen And I Can't Beam Up", and the choir from "Nero Fiddles, Narada Burns" (which is fine with Data's edit)? Is that it?

Which reminds me, anyone notice the additional Ehru in "Welcome Back, Spock"? Pretty cool stuff!

Very interesting, and very nice. The choir in Nero Sighted took me a little by surprise.

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The booklet sucks and the packaging is too big, but those saucer section discs are friggin' awesome.

It sure looks nice on my shelf. ;)

Oh don't you start! I ever get to visit Casa Olivarez you'd better have some serious security around that thing!

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And where might fine gentlemen such as ourselves find these leaked recording sessions? Would love to make up for what was left off the DE (for the record, I'm grateful we got the music we did in the first place).

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What Chutes and Matter insert are you referring to? The Varese DE contains the exact Chutes and Matter cue that Giacchino wrote. In the film, they replaced part of the ending with material tracked from "Spock Bans Offshore Drilling", but that wasn't his original intention for the scene.

And yes, the first post of this thread points out that the distorted ehru is missing on the DE from Welcome Back, Spock. in fact, Welcome Back, Spock on the DE matches the film version (other than the choir), so therefore contains a loop as well

Yes, I was referring to the tracked "Offshore Drilling" ending on "Chutes And Matter". I'm used to hearing that cue in it's film version, so that's my preference. It was easy to create, just turn it down 1 semitone and it matches as heard in the film.

The choir in "Nice To Meld You" is actually quite stunning! I can't believe I never noticed before when watching it. Just one of those "awe" moments. But even with these newest "additions" to the score, what's one more thing you would add to make it the perfect edit? I'm torn between certain drum inserts and the choir in "Narada Burns".

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My approach with choir vs no choir was track-by-track preference. Some do sound better with the choir, but I was so used to hearing others choir-less that I left them as they were.

But with a score that has as so many edits, so much tracking and different versions of everything, I think you have to pick a simple approach and stick with it. Unless of course you *love* as opposed to *like* this score, in which case I'm sure there are some massively complex personal sets around.

Same idea as with Avatar really. My set for that runs around 2 hours, and has no logic at all in film vs alternate versions. I just used what sounded best for listening given the frankly astounding volume of material.

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My approach with choir vs no choir was track-by-track preference. Some do sound better with the choir, but I was so used to hearing others choir-less that I left them as they were.

But with a score that has as so many edits, so much tracking and different versions of everything, I think you have to pick a simple approach and stick with it. Unless of course you *love* as opposed to *like* this score, in which case I'm sure there are some massively complex personal sets around.

Same idea as with Avatar really. My set for that runs around 2 hours, and has no logic at all in film vs alternate versions. I just used what sounded best for listening given the frankly astounding volume of material.

That's awesome! And also what it always boils down to: personal taste, make what works for you

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But even with these newest "additions" to the score, what's one more thing you would add to make it the perfect edit? I'm torn between certain drum inserts and the choir in "Narada Burns".

We still need to hear Giacchino's original Main Title. The original opening of Narada Bing isn't "out there" yet either. Or the missing sections of Narada Boom, The Flask At Hand, and Enterprising Young Men. And the proper mix of I've Fallen And I Can't Beam Up and the choir for "Black Holes Have A Lot Of Pull".

Then we need the Tilton drums for those cues that have it, plus the inserts for Narada Boom and Jehosafats.

And the DE incorrectly overlaps some cues with each other that need to be separated out.

Phew!

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I think Jason summed it up. It'll probably get out there eventually though.

My approach with all this is to do as little editing/customization as possible, and to leave the tracks whole, with crossfaded cues just left as a single track.

I have basically two virtual albums:

The main one is the score, with the film versions of the cues undedited, along with Sabotage and Awasoruk Jam in their respective place in the film.

Then I have an Alternates album, which is for things like alternate versions, currntly only containing one track (Spock Bans Offshore Drilling).

I have kept the choired versions of the cues as the main body of the score.

As Alternates and Overlays come to light, I suspect those may be integrated, and placed in the Alternates album.

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But even with these newest "additions" to the score, what's one more thing you would add to make it the perfect edit? I'm torn between certain drum inserts and the choir in "Narada Burns".

We still need to hear Giacchino's original Main Title. The original opening of Narada Bing isn't "out there" yet either. Or the missing sections of Narada Boom, The Flask At Hand, and Enterprising Young Men. And the proper mix of I've Fallen And I Can't Beam Up and the choir for "Black Holes Have A Lot Of Pull".

Aren't all of these "out there" except for the original main title?

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Most of your scores recorded these days are generally out there in complete form. A lot of them though don't get leaked to the mast public for a long time. Or, if they do they're leaked little by little to us (Spider-Man 3).

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  • 1 month later...

Gotta thank Trent for pointing this one out to me - there's ANOTHER cue that was supposed to have choir that was dialed out for the Deluxe Edition! That brings the count up to 8!

Check out An Endangered Species, from about 0:40-0:55. If you compare that to the final film, uou can hear the choir that's supposed to be there!

I've updated the main post to reflect this but man - there was a bunch of additional work I meant to do to the main post that I never got around to doing! Woops!

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I hear that, I overplayed it myself as well

Now that I'm finally working on completing my personal edit, I've been listening to it again. It really never gets old!

Chutes and Matter and I've Fallen and I Can't Beam Up get the most plays

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I too have had to give this score a break. I still play it sometimes but not as often as I used to.

Like Jason, "Chutes and Matter" and "I've Fallen and I Can't Beam Up" have been getting quite a bit of repeated listens.

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I haven't listened to Star Trek V since January because I overplayed it as well. That's more of a positive sign than negative. There are countless Williams & Goldsmith scores I haven't listened to in awhile for the same exact reason.

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I played the DE of Giacchino's score maybe twice. TMP, STII, STIII, STV get much more playtime. Much, much more.

I'm not saying I hate it or anything. But it doesn't do that for me.

Karol

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I haven't listened to Star Trek V since January because I overplayed it as well. That's more of a positive sign than negative.

Agreed same here. I've tend to move back to some older scores that I haven't listened to in ages because the new limited edition releases get lots of play time.

I love my new Star Trek V purchase so much I haven't listened to it at all yet.

I think you do that on purpose. ;)

I think he does too. :P

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I haven't listened to Star Trek a lot, because the absent choir and the film/tracked edit and the missing pieces bother me. Wish the complete score would have leaked by now.

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I've tried to listen to the DE a couple of times, but like Karol I just can't get into it the way I do the majority of the other Trek scores. Some great individual music, but overall, it doesn't make a great cookie.

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I am also glad. MG went way overboard on the choir on some bits, especially the end solo Narada dying bit.

Fommes comment brings up an interesting point. Does it pain you to listen to a score that has "not been treated correctly"? Should your love for a score overrule any such feelings? Do you refuse to listen to E.T. because it doesn't have the insert in 'Saying Goodbye'? Does the botched edit on the ESB finale on the anthology make you green with anger?

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