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John Powell's SOLO: A STAR WARS STORY (2018) - Deluxe Edition release coming November 2020


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This is a pretty awesome news , THE DELUXE EDITION!!    

2 minutes ago, stravinsky said:

I love this "Fakery" motif which I never knew existed until now. What/who does it represent? 

 

It signifies that someone is going to be faking something momentarily.

 

I.e. Han fakes having a thermal detonator, Han & group fake being slaves/masters, and finally the old lady in Enfys' mask and Han having the real coaxium.

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6 minutes ago, bollemanneke said:

I feel like I should know this, but was JW present in London for the sessions?

 

Nope, Williams didn't go to London until later that year for the LSO concert.

 

Someone asked Powell if JW supervised the sessions remotely from LA, but he didn't really answer the question directly. More likely JW just asked to view the sheet music or listen to some cues a few days later. He checked in with Powell regularly during the writing process, so he was probably comfortable with what Powell was doing.

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47 minutes ago, Manakin Skywalker said:

Not sure if anyone has seen this yet, but the full album credits for the DE are on the Hans Zimmer website.

http://www.hans-zimmer.com/index.php?rub=disco&id=1862

 

On 11/20/2020 at 7:09 PM, HunterTech said:

Also, for anyone who cares about the full list of who worked on what cue, Hybrid did update the DE page today on the HZ website (though Willis is missing on Extra Deluxe Mine Mission): http://hans-zimmer.com/index.php?rub=disco&id=1862

 

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18 minutes ago, Manakin Skywalker said:

 

It signifies that someone is going to be faking something momentarily.

 

I.e. Han fakes having a thermal detonator, Han & group fake being slaves/masters, and finally the old lady in Enfys' mask and Han having the real coaxium.

Most interesting. Thankyou 

Good god so this score was written by 5 composers in all? That's something else I just found out today. Kind of diminishes the magic a bit for me. Don't know why. 

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58 minutes ago, stravinsky said:

I love this "Fakery" motif which I never knew existed until now. What/who does it represent? 

 

On 11/19/2020 at 4:18 PM, Anthony said:

image.png

 

On 11/19/2020 at 4:20 PM, Falstaft said:

Perfect! The "fakery motif"! 

 

On 11/19/2020 at 7:13 PM, Manakin Skywalker said:

Interesting! That was one of the standout motifs that I noticed when I first saw the film; I always assumed it was either a motif for Proxima or a secondary motif for Crimson Dawn, or even just a general "bad guy" motif.

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8 minutes ago, stravinsky said:

Most interesting. Thankyou 

Good god so this score was written by 5 composers in all? That's something else I just found out today. Kind of diminishes the magic a bit for me. Don't know why. 

 

The other composers have minimal involvement. You could consider them to be "assistants" basically. This is how most film scores are made nowadays... Think of it like a group project, with JP being the leader, and the other guys helping out when necessary.

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Nicely done!

 

~

 

I've attempted to join "Gonna Be A Pilot" and "Mimban Battle" together, and it just doesn't sound good.  Is it possible that the final chord that ends "Gonna Be A Pilot" was meant to segue into a cue for the deleted "Han as Imperial Pilot" scene that Powell never wrote?

 

Has anybody been able to pull off a join of these two tracks that sounds good?

I also haven't been able to split Maul's Call / Parting Ways at the 2:02 mark and have it sound good, because there's too much overlap... even if I bring in the longer version of the ending from OST "Good Thing You Were Listening" around 1:03ish.  Has anybody been able to pull this off?  Maybe with blu ray rips, or synth mockups?

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45 minutes ago, Jay said:

I've attempted to join "Gonna Be A Pilot" and "Mimban Battle" together, and it just doesn't sound good.  Is it possible that the final chord that ends "Gonna Be A Pilot" was meant to segue into a cue for the deleted "Han as Imperial Pilot" scene that Powell never wrote?

 

Has anybody been able to pull off a join of these two tracks that sounds good?

I synced the first beat in Mimban Battle with the percussion hit at the end of Gonna Be. I like it fine, the Imp March stomps on Han A just as it begins to soar hopefully.

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So for a cue like “Corelia Chase” in which Batu Sener worked on with Powell (and any other cue where additional composers are listened) How does that work exactly?


Did Batu write the whole thing and Powell is credited for his themes?Do you think Powell just developed a rough sketch of the music and handed it off to Batu as sort of an “orchestrator”? I suppose it depends on the cue/time constraints ? Always have been curious about the role of “additional composers”. 

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1 minute ago, WampaRat said:

So for a cue like “Corelia Chase” in which Batu Sener worked on with Powell (and any other cue where additional composers are listened) How does that work exactly?


Did Batu write the whole thing and Powell is credited for his themes?Do you think Powell just developed a rough sketch of the music and handed it off to Batu as sort of an “orchestrator”? I suppose it depends on the cue/time constraints ? Always have been curious about the role of “additional composers”. 

 

It's very unlikely that it's only *orchestrating*, that's a whole credit in itself. Usually co-composing means you get a scene/cue to work on and a handful of instructions (style, motifs, themes) and then present it to your employer for a review. If he/she likes it, you continue.

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8 minutes ago, WampaRat said:

So for a cue like “Corelia Chase” in which Batu Sener worked on with Powell (and any other cue where additional composers are listened) How does that work exactly?


Did Batu write the whole thing and Powell is credited for his themes?Do you think Powell just developed a rough sketch of the music and handed it off to Batu as sort of an “orchestrator”? I suppose it depends on the cue/time constraints ? Always have been curious about the role of “additional composers”. 

 

Basically as Publicist said you're given a couple sections of a cue to write, usually with instructions, go back and forth with the lead composer (JP in this case) until you're both satisfied with the result. At the end all the sections of the cue are combined. Now sometimes sections would be chunks of a cue (such as specific scenes or shots) while in other cases it might just be overlays/inserts, like percussion and stuff like that. Batu in particular is credited in a lot of cues that contain extensive percussion / synth elements, so it's possible for cues like Corellia Chase he simply did some if not most of the percussion while Powell did the orchestral stuff. However to what extent they were involved for Solo we have no clue.

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Thanks! 
 

All I know is that 1:34-1:53 in “Corelia Chase” for me is my favorite part in a score chalk full of highlights. The ways those strings weave all around the main Han Solo theme. Just stunning stunning stuff. 
 

Not sure if it was Powell or Sener who did that. But they deserve a medal or something.

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3 hours ago, Jay said:

I've attempted to join "Gonna Be A Pilot" and "Mimban Battle" together, and it just doesn't sound good.  Is it possible that the final chord that ends "Gonna Be A Pilot" was meant to segue into a cue for the deleted "Han as Imperial Pilot" scene that Powell never wrote?

 

Has anybody been able to pull off a join of these two tracks that sounds good?

I also haven't been able to split Maul's Call / Parting Ways at the 2:02 mark and have it sound good, because there's too much overlap... even if I bring in the longer version of the ending from OST "Good Thing You Were Listening" around 1:03ish.  Has anybody been able to pull this off?  Maybe with blu ray rips, or synth mockups?

 

I would assume that is the case as well; in the film then ending of Gonna Be A Pilot seems to be reverbed in order to properly segue into Mimban Battle, so that final "hit" isn't present.

 

Just now, Spider-Fal said:

It's a joke that I didn't get to do it for my restore thread.

 

I am not really angry about it or anything.

 

That's what I thought but I wasn't sure :lol:

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Sorry if this has been discussed before, but did anyone of you experience lots of clipping in Stormtrooper Karaoke? I bought the Album at Amazon (they charge much more in Germany than in the US, it seems); everything else sounds great, but this one track is really intolerable. Fortunately not one of the many great actual score cues.... so far. Just listening for the first time.

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10 minutes ago, paleo said:

Sorry if this has been discussed before, but did anyone of you experience lots of clipping in Stormtrooper Karaoke? I bought the Album at Amazon (they charge much more in Germany than in the US, it seems); everything else sounds great, but this one track is really intolerable. Fortunately not one of the many great actual score cues.... so far. Just listening for the first time.

 

Nope. Try redownloading it again and see if that helps. I had an issue with the end credits from HDTracks and redownloading it fixed the issue.

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7 hours ago, Jay said:

That's what I did too, but I dunno, it just doesn't sound right to me.  I guess they're in different keys?

 

The way I see it there are two ways to combine to cues...

 

Either by emulating the film mix by combining the cues at the transition point and adding a false ending to GBAP:

https://drive.google.com/file/d/1Zfz5B8QGJUwf0eOY9W8_EwZ4eoTRVk7G/view?usp=sharing

 

Or by separating the cues by a single beat:
https://drive.google.com/file/d/1UEOAXYSkBqJRzsblbUPTKY7qhPSLuO-v/view?usp=sharing

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1 hour ago, Manakin Skywalker said:

2 does sound a bit more natural IMO, plus I didn't have to lob off the ending of the preceding cue to achieve it.

 

I left an even bigger gap between the two cues, it sounded much more natural than overlapping them.

 

You get the reverb fade out from cue one, then right before it goes silent the drumroll introduces cue two, like taking a deep breath before the big Imperial March statement.

 

Combining the finale with end credits was much easier though, that works effortlessly.

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29 minutes ago, crumbs said:

You get the reverb fade out from cue one, then right before it goes silent the drumroll introduces cue two, like taking a deep breath before the big Imperial March statement.

 

Using a false ending and separating the cues is a little too close to "micro-editing" for my taste personally. Either one or the other is the professional way to do it, but not both.

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4 minutes ago, Manakin Skywalker said:

 

Using a false ending and separating the cues is a little too close to "micro-editing" for my taste personally. Either one or the other is the professional way to do it, but not both.

Reverb is in the real ending too Manakin.

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37 minutes ago, Spider-Fal said:

Reverb is in the real ending too Manakin.

 

I'm more referring to the cutting aspect, removing the true ending entirely and replacing it.

 

______________________________________________________________________________________________________________________________________________________

 

@Jay I attempted to split Maul's Call / Parting Ways into sections the best that I could; unfortunately 7M44 and 45 cannot be separated, but the other sections including the alternate can be quite easily. I'm assuming these are the correct splitting points. :P

 

Skype Showdown

Beckett Departs / Parting Ways

Beckett Departs (Alt)

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8 hours ago, Manakin Skywalker said:

 

Using a false ending and separating the cues is a little too close to "micro-editing" for my taste personally. Either one or the other is the professional way to do it, but not both.

 

Not sure what you mean. 1M8 Gonna Be a Pilot has a natural reverb ending, which perfectly leads into the drumroll before 1M10 Mimban Battle. There's no microediting or false endings here.

 

 

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