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A.I. Artificial Intelligence (2001) - 2015 3CD set from La-La Land Records


Jay

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You're all mixing up terms. Both melodies and motives can be themes. "Theme" implies any musical element that recurs and has dramatic significance. Don't equate theme and melody - that just unnecessarily confuses things.

Yeah but i referred to the THEME FROM JAWS, as it was introduced on the soundtrack...and Williams doesn't just abandons the other elements of it. So the theme from JAWS is the complete theme from JAWS to me.

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If anyone wants to keep the promo, it's not entirely obsolete.

A track at lalaland (2m1: cd track 7) has added the insert next to the original bars it was meant to replace.

But the promo cue (cd2track6), has the cue without the insert.

it's like this:

Promo CD2T6

0.00-2.52: 2m1 (bars 1-50)

2.55-end: 2m1 new ending (replaces bars 51-end of 2m1)

film version:

2m1 bars 1 -21 aprox.

2m1 insert (replaces bars appox. 22-50)

2m1 new ending

La-laland

0.00-2.49: 2m1 (bars 1-50)

2.50-4.49: 2m1 insert

4.49-end: 2m1 new ending

in summary we have:

Promo: original 2m1 + new ending

Film Version (unreleased): 2m1 + insert (replaces part of 2m1)+ new ending

La-laland: 2m1 (incl. bars that insert is meant to replace) + insert + new ending

So, the only cue missing is the new 2m1 with the proper placement of the insert.

Just wanted to note that if you want to edit together the revised version yourself, you can start mixing the insert at 1:10 into the LLL track. In the first few seconds of the insert there's a tone shift that seems to match up with the one at 1:14,5.

It's possible to edit the original version from the LLL track as well (= the promo track), but either you'll have to add some dither or so to 'cover' the silence between 2M1 and the "new ending", or you can leave out the two measures of silence at the beginning of the "new ending" (I chose the latter option).

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On this new set, Mecha World (Extended), is there a distortion of the brass from 00:30 or so onward? It lasts about half a minute and it's not terrible, but definitely noticeable and this isn't on the OS album.

Anybody else noticed it?

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Personally I hear nothing wrong with that great track.

I have heard other people complain about a "bad edit" at 0:20 of that track, but it all sounds fine to me ¯\_(ツ)_/¯.

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I have heard other people complain about a "bad edit" at 0:20 of that track, but it all sounds fine to me ¯\_(ツ)_/¯.

well, there is glitch there that is not so evident, but the most evident to me (because it was my favourite track from the ost) is in the Journey through the Ice part 1 track with that note coming a bit earlier at around 0.13'', and the cue seems a bit like tripping..

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Personally I hear nothing wrong with that great track.

I have heard other people complain about a "bad edit" at 0:20 of that track, but it all sounds fine to me ¯\_(ツ)_/¯.

Same here. Nothing wrong. I even compared it to how the cue sounds in the film. Nothing wrong at all.

well, there is glitch there that is not so evident, but the most evident to me (because it was my favourite track from the ost) is in the Journey through the Ice part 1 track with that note coming a bit earlier at around 0.13'', and the cue seems a bit like tripping..

Sorry. Nothing wrong there, either (a point on that note coming in slightly early; that is how it was performed and recorded).

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Am I the only one here who thinks the ghostly carnival music near the beginning the "Finding the Blue Fairy" is a little goofy? It just feels weird that in such an emotional track, John Williams felt that it was necessary to remind us that the carnival we are looking at is in fact, a carnival.

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That little moment with the ghostly carnival organ is a fantastic touch, a subtle yet effective reminder of the location, just a few notes but enough to make that association in your mind but at the same time entirely appropriate for the underwater soundscape.

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I also like the ghostly carnival music, it's a beautiful touch in a very effective cue. It reminds me a bit of that moment in Stravinsky's Petrushka where he imitates a sort of barrel organ with the orchestra during a scene at the fair. The mood is completely different, but the idea is slightly similar.

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I also like the ghostly carnival music, it's a beautiful touch in a very effective cue. It reminds me a bit of that moment in Stravinsky's Petrushka where he imitates a sort of barrel organ with the orchestra during a scene at the fair. The mood is completely different, but the idea is slightly similar.

Yes.

Or what James Horner does, if I remember correctly, at the beginning of Titanic when the ancient rotten grand piano underwater is shown. A soft ghostly tinkling of the piano.

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Sort of along those lines, Last Crusade opening chase scene where young Indy's theme is played on what seems to be a circus calliope as they approach the train.

Are you still miffed it was not on the Concord set, that insert?

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  • 1 month later...

I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

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I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

I have no memory of this. I will need to rewatch the scene and get back to you on this.

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I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

I have no memory of this. I will need to rewatch the scene and get back to you on this.

I vividly recall exactly what he's referring to, and I can only assume it was added during the sound mix rather than the scoring process. It's a heavily processed echo of Monica's theme, sounds a bit like the opening soprano from "Where Dreams Are Born" if I had to place its origin.

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I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

I have no memory of this. I will need to rewatch the scene and get back to you on this.

I vividly recall exactly what he's referring to, and I can only assume it was added during the sound mix rather than the scoring process. It's a heavily processed echo of Monica's theme, sounds a bit like the opening soprano from "Where Dreams Are Born" if I had to place its origin.

I honestly can't hear it even after rewatching the scene. Weird. Is it prominent? I am straining my ears and can't hear anything resembling that soprano line.

Must be an edit in the mixing phase.

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I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

I have no memory of this. I will need to rewatch the scene and get back to you on this.
It's right after we see David's memories in Mecha's head and we cut/pan to his face. You can hear a ghostly echo of Bonney's voice. Not really part of the score. It's very subtle.

Thanks Jay and crumbs. I'm not crazy after all. Or at least not alone in my madness. ;)

Karol

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I have a random question regarding this score. Was the haunting ghostly ethereal echo of Monica's theme soprano tracked into the scene in which Supermechas are reading David's memories? I can't hear it anywhere on the new album.

Karol

I have no memory of this. I will need to rewatch the scene and get back to you on this.

I vividly recall exactly what he's referring to, and I can only assume it was added during the sound mix rather than the scoring process. It's a heavily processed echo of Monica's theme, sounds a bit like the opening soprano from "Where Dreams Are Born" if I had to place its origin.

I honestly can't hear it even after rewatching the scene. Weird. Is it prominent? I am straining my ears and can't hear anything resembling that soprano line.

Must be an edit in the mixing phase.

http://www.youtube.com/watch?v=KnAzBlUjyxs&t=8m35s

It's mixed in with the other ethereal sounds at 8:35 or thereabouts. It's like a deranged, tortured echo of Monica's theme. Certainly adds to the otherworldly visuals and general uneasiness of the scene.

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I must be going deaf because I can't make out Monica's theme on solo soprano out of that mix of different sounds. :P

Oh well. At least we proved that Karol is not crazy and I am going deaf.

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It's actually a major-key version of The Emperor's Theme.

Of course! Didn't we already establish everything Williams has ever written is actually a variation on Emperor's theme?

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