Jay 37,378 Posted August 16, 2018 Author Share Posted August 16, 2018 Right. Link to comment Share on other sites More sharing options...
Thor 7,529 Posted August 23, 2018 Share Posted August 23, 2018 The staff of Celluloid Tunes "conversation reviews" the recent Varese release of John Williams' THE COWBOYS (in English): http://celluloidtunes.no/the-cowboys-john-williams/ Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted August 23, 2018 Share Posted August 23, 2018 Absolutely boring, I just read the beginning when you are talking about the movie you saw, and the two others says they never saw it. Is this a joke? Link to comment Share on other sites More sharing options...
Thor 7,529 Posted August 23, 2018 Share Posted August 23, 2018 No. It's perhaps an advantage, but a not a prerequisite to have seen the film when talking about soundtrack albums, I think. We do it here all the time. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,094 Posted August 23, 2018 Share Posted August 23, 2018 @Bespin, one of the advantages of such conversation reviews is that the participants have different approaches to the music. Thor 1 Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted August 23, 2018 Share Posted August 23, 2018 I started to sleep at "You're right Thor". Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Thor 7,529 Posted August 23, 2018 Share Posted August 23, 2018 Thanks for the valuable feedback, Bespin. Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted August 23, 2018 Share Posted August 23, 2018 De nada! Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted November 29, 2018 Share Posted November 29, 2018 New to this score so it's probably come up already, but does anyone else hear a prototype version of the "Leaving Home" theme from Superman in this? Not sure exactly the name of the theme from either score but it struck me upon the first listen. There's also something from the end of The Post which sounds very similar here too, though I don't have any clips to demonstrate. Anyone else know what I'm referring to? I'll give the score another listen and work out exactly where it is. Makes me wonder if JW was reviewing MM's expansion around the same time he was writing The Post, hence the incidental quotation. Jay and Score 2 Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted November 29, 2018 Share Posted November 29, 2018 Oh, for sure. I'd say it's a pretty common trick of Williams', this "nobly forlorn" type of melody. I want to say he's spun variations of this in other scores, as well. Link to comment Share on other sites More sharing options...
Marian Schedenig 8,211 Posted November 29, 2018 Share Posted November 29, 2018 19 hours ago, crumbs said: New to this score so it's probably come up already, but does anyone else hear a prototype version of the "Leaving Home" theme from Superman in this? Not sure exactly the name of the theme from either score but it struck me upon the first listen. All the Americana in Superman (a lot of which was unavailable until the Blue Box) is very much in the vein of The Cowboys. Link to comment Share on other sites More sharing options...
Edmilson 7,474 Posted May 1, 2020 Share Posted May 1, 2020 I was listening to this score today, probably the best Rydell/Williams collaboration, but I've never seen the movie. So am I right to assume that this (0:00 to 0:13) is the movie's main theme, this (0:23 to 0:52) is a theme for the kids that befriend John Wayne, and this (3:43 to 4:10) is the theme for John Wayne's character? I really like this final theme, which I'm assuming relates to Wayne. Very evocative! Link to comment Share on other sites More sharing options...
Thor 7,529 Posted May 1, 2020 Share Posted May 1, 2020 The film has some serious ethical issues. Stands in harsh contrast to Rydell's other "Americana" movies (whether period or contemporary), but the score lives its own life -- probably Williams' best western score. Feel free to read the 'conversation' review from a few months back, linked to a few posts up, where we briefly mention this. Otherwise, the film has great production values. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted May 1, 2020 Share Posted May 1, 2020 The Reivers will always be closest to my heart Link to comment Share on other sites More sharing options...
Jurassic Shark 12,094 Posted May 1, 2020 Share Posted May 1, 2020 What about The Rivers and The Reiver? Link to comment Share on other sites More sharing options...
Thor 7,529 Posted May 1, 2020 Share Posted May 1, 2020 And Raiders. Link to comment Share on other sites More sharing options...
Jay 37,378 Posted May 1, 2020 Author Share Posted May 1, 2020 1 hour ago, Edmilson said: I was listening to this score today, probably the best Rydell/Williams collaboration, but I've never seen the movie. So am I right to assume that this (0:00 to 0:13) is the movie's main theme, this (0:23 to 0:52) is a theme for the kids that befriend John Wayne, and this (3:43 to 4:10) is the theme for John Wayne's character? I really like this final theme, which I'm assuming relates to Wayne. Very evocative! I don't know these timestamps off the top of my head, but the liner notes explain the different themes very well Link to comment Share on other sites More sharing options...
Jurassic Shark 12,094 Posted May 1, 2020 Share Posted May 1, 2020 On 11/30/2018 at 12:33 AM, Marian Schedenig said: All the Americana in Superman (a lot of which was unavailable until the Blue Box) is very much in the vein of The Cowboys. A lot? Didn't the Rhino release have the complete score? Link to comment Share on other sites More sharing options...
Marian Schedenig 8,211 Posted May 1, 2020 Share Posted May 1, 2020 3 hours ago, Jurassic Shark said: A lot? Didn't the Rhino release have the complete score? Right. I probably meant that, or forgot that there was the Rhino between the OST and the Blue Box, Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Popular Post Holko 9,532 Posted August 16, 2020 Popular Post Share Posted August 16, 2020 So after I did that thematic breakdown in The River's spreadsheet and Jay asked if I'll do more, I said it just seemed natural and evident, it's a short and sweet score that's surprisingly thematically rich. So now that I finally bought this about 2 years after everyone stopped talking about it... why not? List of themes: - Training, a driven theme characterised by quickly repeated notes, dominantly on strings (1st violin part from Cowboys Overture) - Cowboys, a fun theme whose A and B phrases use a 3-note up-down phrase repeatedly, while C and D wander away, mainly on brass (oboe part) - Paternal, a warm theme "representing [John Wayne's] nurturing influence on the boys" for strings (oboe part) - The Trail, sweeping Americana often on strings (flute part) - Mischief, a playful theme for the boys' hijinks, from a base related to Cowboys' up and down figure (clarinet part) - Wil and Ann, a sort of pre-Paternal motif - Long Hair, a dangerous low line for the bass harmonica, often accompanied by a harmonica-like Yamaha organ line (I only had access to the latter Cowboys Overture's handwritten sheet music (thanks, @BrotherSound ), if anyone has a problem with "wrong" pitches or not the cleanest representations, feel free to create proper Falstaftian examples, I'll be happy to add them, especially for the themes not present in the Overture - I'm already really happy I could find these parts with my limited ability to read music, and I also had to consider legibility in picking the instrument's line - also, if later there are apparent problems with my Instrument-Apart-Telling skills, feel free to call me out!) 01 - Overture We start off with a couple unformed Training quotes, then movie quickly into a full statement (0:16-0:29), followed by some Cowboys ones (0:29-0:43 brass, 0:43-0:56 woodwinds). At 1:05-1:27 we get some Paternal theme, but not necessarily with the full respect it deserves, then move into Trail (1:27-2:02), finishing with more Training (2:13-end). Of note are the two connecting otherwise unused fanfares (the latter of which to me very much sounds like a "get your butts in the seats, it's starting" fanfare from theatres), and all the additional colouration Williams gives these themes: the xylophone doubling a part of Training, the westerny noisemakers for Cowboys, the harp and tack piano accenting the end of Paternal, themes moving between instrument groups, these are not just straightforward square formal introductory statements. 02 - Main Title After yet another unique introductory fanfare based on Training, we get a somewhat lowkey progression of Cowboys, first on the Yamaha electric organ in a westerny setting (possibly doubled with the tack piano?), then winds join in for the second round while low strings and percussion provide the rythm. Then after a straightforward string&winds Training and a quick Trail, we are introduced to Mischief on the Yamaha and harmonica. Another Trail interlude with downward glissandos (synth?) leads us back into Training, a fuller Cowboys (though not necessarily in the melody's orchestration, the percussion just pushes it harder), a reprise of the introductory fanfare and a variaton finishing the cue off. 03 - The Hands Quit After some darker writing, at 0:58 we hear Wil and Ann for the first time, on harmonica, moving into a slow string Paternal at 1:20. 04 -The Boys Tack piano sets the stage for an unsure harmonica and a comedic tuba Cowboys. 05 - Wil and Ann At 0:06 a more uneasy Wil and Ann starts on bassoon then moves to clarinet at 0:25, opening up into Paternal on oboe, clarinet, then both, then brass at 0:39-1:29, then brass, with Trail coming in on strings from 1:39, then taking over with a big solo. 06 - The Kids and Crazy Alice Bits or full renditions of Cowboys and Training alternate all throughout on various instruments. 07 - Graveyard A mournful brass Paternal statement with strings and harp texturing it, then an incomplete guitar and harmonica rendition. 08 - Anybody That Tall Comedic string plucks, harmonica and more tuba lead to a determined Yamaha Cowboys and a unique bit, subdued guitar and percussion finishing the cue. 09 - Training Montage More bits or full renditions of Cowboys and Training. 10 - Long Hair and the Roundup We get our first introduction to Long Hair's material (Paternal interrupts it once) with the bass harmonica and organ, then a unique bit of riding music capped by a bit of Cowboys, finally ending with lighter antics and Mischief for tuba(?) and tack piano, with percussion, pizzicato strings and bass underneath. 11 - Nightlinger's Tale An athematic interlude for xylophone and the Yamaha with harp, plucked bass and shimmering strings supporting. 12 - To Belle Fourche A Training phrase opens for half a Cowboys, then after fanfares we get a straighter read (0:18-0:24), then it's playing second fiddle under a big brass Paternal (0:25-0:44), then Training gains the upper hand (0:44-0:51) with big brass strikes giving irregular westerny rythmic accents, then soon Trail takes the stage on strings (0:53-1:06), Training moving back once more (1:06-1:13), but quickly allowing Trail to come back on harmonica, then trumpet and strings (1:13-eend. 13 - The First Night The Yamaha, joined by harmonica and brass for the first half, plays Trail then moves off into a playful interlude, leading to a slow Cowboys on harmonica then oboe (0:37-1:08), followed by Trail on harmonica and a guitar supporting figure. 14 - Burning Daylight Tack piano and harmonica explode into a large orchestral+tack piano Cowboys with a unique melody introducing it, separating phrases and playing it off. 15 - Learning the Ropes (Vivaldi Concerto in D) Just what it says in the title, lovely excerpt from Vivaldi's guitar concerto. 16 - Sour Mash Clarinet and harmonica, then primarily tack piano reminisce about bars and people of memory, the tuba returning afterwards with a high woodwind, queasily moving between ends of a wide range. 17 - Long Hair's Threat As expected, Long Hair's harmonica is back, with the organ joining later, again creating an unsettling atmosphere, followed by a big orchestral then mostly solo brass buildup and payoff to mark the end of Act 1. 18 - Entr'Acte The same take as the Overture, except with an insert that makes Long Hair come in at 1:47 then ends just like the Overture. 19 - Afraid of the Dark Dark harp and percussion signal the looming threat until the westerny Yamaha and harmonica playing a not quite comfortably right Trail lead to a warm woodwind Paternal. 20 - Charlie's Demise Long Hair is now here to stay, the harmonica feels more a part of the wilderness' general threat without its organ. The rest of the cue is a drawn-out orchestral crescendo. 21 - Charlie's Burial Sad guitar is joined by a harmonica Paternal and mournful strings playing the up-down figure as if starting Cowboys but continue with Trail instead, which is then picked up by woodwinds, followed by an ominous guitar coda. 22 - Mrs. Collingwood's Girls Our last bit of levity, the tuba and tack piano return to support a harmonica Mischief. 23 - Long Hair Trails Apart from two Long Hair statements, the first half is mostly percussion and ominous orchestral sounds until we settle on a not exactly sweeping Trail, then get an uncharacteristic Long Hair on low bassoon to end. 24 - Long Hair and Dan Now in power, unhinged and seemingly triumphant, the bass harmonica goes to new places with new developments instead of restating the familiar material too many times. 25 - Summer's Over A sad guitar intro evolves into the up-and-down figure, as if either Cowboys or Mischief is trying but failing to start, then dignified mournful horn plays a figure that feels like the start of Paternal stumbling away similarly after the first two notes. 26 - Drums of Manhood and the Execution The foundations for the whole cue are wild percussion and vengeful, earthy, sneaky orchestrations of Cowboys for accordion, bassoon, harmonica, flute, Yamaha or recorder, standouts being the triumphant start melded with Training fanfares (0:55-1:22), and the frantic piano, strings and percussion payoff (5:12-end). 27 - Into the Trap New chase material for brass, muted trumpets, Yamaha and percussion dominates the cue, peppered with Cowboys, capped by a tense section with held string notes and one last Long Hair over unsure ground with piano and woodwinds. 28 - The Battle The climactic triumphant Cowboys statements growing in intensity militarised by sawing strings and percussion turn into wild material. 29 - End Title and End Cast After a harmonica and guitar Paternal, a Trail on strings, harp and piano and a fusion of Cowboys and Training for various parts, we settle on a grand Paternal for strings and winds with a unique coda. Then our Cowboys march off into the horizon while harmonica and marching percussion playing their theme. 30 - Nightlinger's Tale (alternate) - A take with different timing toward the end, and most importantly only xylophone, no Yamaha, giving it a much more purely magical atmosphere instead of almost slightly ominous, or at least darker.31 - Long Hair's Threat (alternate) - A very similar take missing the film version's final brass crescendo and payoff to be used in the version without intermission.32 - Entr'Acte (Segment) - The insert included separately, without percussion (Long Hair's noisemakers).33 - The Execution (alternate) - A different take of the same material, little to no true differences to be found.34 - Into the Trap (alternate) - Same deal.35 - End Title and End Cast (alternate) - A lower harmonica Paternal and differently phrased string Trail lead to a triumphant fuller Cowboys, Training fanfare, then a differently phrased shorter string Paternal. The revised film version chose to put more focus on the latter. End Cast is the same.36 - Exit Music - Assembled from The Kids and Crazy Alice and Overture. The Cowboys Overture: (timings are from the excellent Pops recording on By Request)0:00-3:06 is basically an extended Main Title: Training fanfares, an extended transition, Cowboys, Training, an extended Trail, and extended Mischief, Trail, Training (full statement, not just half for the fanfare), two Cowboyses instead of one, and the final fanfares quiet down instead of coming to an end to lead better into the next part.3:06-7:18 is a long and satisfying mostly unique exploration of the Paternal theme, with Cowboys and Training making an appearance before the final statement. Almost like Wil's simple life with quiet beginnings, slowly climbing to what seems to be its peak, but still in the same old slower tempo and setting... then after that's achieved, these whippersnappers come in, at first unassuming then very much active, to give him one last jolt of energy and new life.7:18-8:59 is a reprise of themes, sometimes in very Main Title-ey, sometimes in wholly unique guises: Training (Fanfarey setting but the interlude parts are playing the theme proper instead of the different material like early in Main Title), Mischief, Trail, Cowboys, and an extended version of the Main Title's finale. Yavar Moradi, Bellosh, BrotherSound and 3 others 2 4 Link to comment Share on other sites More sharing options...
Popular Post BrotherSound 2,246 Posted August 16, 2020 Popular Post Share Posted August 16, 2020 2 hours ago, Holko said: So after I did that thematic breakdown in The River's spreadsheet and Jay asked if I'll do more, I said it just seemed natural and evident, it's a short and sweet score that's surprisingly thematically rich. Thanks for doing this! Definitely one of the standouts of the pre-Jaws scores, and one that I have a new appreciation for after hearing the expansion. 2 hours ago, Holko said: Long Hair, a dangerous low line for the brazilian cuíca, a friction drum, often accompanied by a (synth?) harmonica line The bass harmonica is the instrument that plays this melody. Cuíca isn’t a pitched instrument. I do hear a different Latin percussion instrument in some of these passages, the Vibraslap: I believe accompaniment instrument is a Yamaha electric organ, which he specifically calls for in some of these 70s scores, like The Towering Inferno. It can produce this kind of reedy sound, in any case. Holko, Yavar Moradi, Miguel Andrade and 1 other 3 1 Link to comment Share on other sites More sharing options...
Jay 37,378 Posted August 16, 2020 Author Share Posted August 16, 2020 Wow Holko that looks amazing - can't wait to read it! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Holko 9,532 Posted August 16, 2020 Share Posted August 16, 2020 48 minutes ago, BrotherSound said: The bass harmonica is the instrument that plays this melody. Cuíca isn’t a pitched instrument. Huh. Somehow doesn't sound very harmonica-like to me, in the past I always assumed it was some sort of exotic woodwind. I did look up videos of the bass harmonica for research (of the cuíca too) and those all sounded like I expected. Link to comment Share on other sites More sharing options...
Holko 9,532 Posted August 17, 2020 Share Posted August 17, 2020 19 hours ago, Holko said: 3:06-7:18 is a long and satisfying mostly unique exploration of the Paternal theme, with Cowboys and Training making an appearance before the final statement. Almost like Wil's simple life with quiet beginnings, slowly climbing to what seems to be its peak, but still in the same old slower tempo and setting... then after that's achieved, these whippersnappers come in, at first unassuming then very much active, to give him one last jolt of energy and new life. Extended this section with a new idea that came to me last night. Link to comment Share on other sites More sharing options...
Yavar Moradi 2,604 Posted August 19, 2020 Share Posted August 19, 2020 This is one of my Top 10 favorite Williams scores; I look forward to listening to it with your analysis! Yavar Link to comment Share on other sites More sharing options...
crocodile 8,020 Posted March 10, 2021 Share Posted March 10, 2021 Sold out! https://www.facebook.com/190580891134204/posts/1645782715614007/ Karol Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted March 10, 2021 Share Posted March 10, 2021 Yikes! I sold the ost for $$. Ya think that'll become collectible again? Link to comment Share on other sites More sharing options...
Holko 9,532 Posted March 10, 2021 Share Posted March 10, 2021 Sad, this was a great release of a fun as hell score. Smeltington 1 Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted March 10, 2021 Share Posted March 10, 2021 Tthythyhthytthyhthghtt On 5/1/2020 at 10:40 AM, Jurassic Shark said: What about The Rivers and The Reiver? What about WILD ROVERS?1 Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted March 10, 2021 Share Posted March 10, 2021 That was fast! Sucks for anyone who missed out, this is one of my favourite releases! I'd never heard the score before buying this album, so it was like experiencing a totally new JW score. It's even sweeter knowing you're hearing the score in complete form, whereas with so many first-listen soundtrack experiences part of your brain is wondering which highlights he left off the album. Hopefully Varese are working on some other catalog titles (please please please Eiger Sanction, Heidi, Reivers...) Holko and Dr. Rick 2 Link to comment Share on other sites More sharing options...
Datameister 2,044 Posted March 10, 2021 Share Posted March 10, 2021 Bummer indeed for anyone who missed it. This one gets a lot of playtime in my collection. Fantastic themes, good sound for the era, a decent variety of material in the score...it's good stuff. I'd always held off on buying the OST used, in the hopes that it would get an expanded release, and I was thrilled when it happened. I do wish Williams had pulled a Jaws and done a separate set of OST recordings arranged just for the album. It's fun to have both ways of enjoying a score, and as the Cowboys concert suite demonstrates, he still had plenty more he could have done with these themes. But oh well. I suppose I'll settle for "just" a great release of a great score. 😉 Link to comment Share on other sites More sharing options...
Holko 9,532 Posted March 10, 2021 Share Posted March 10, 2021 11 minutes ago, Datameister said: good sound for the era incredible sound for the era! Link to comment Share on other sites More sharing options...
Jurassic Shark 12,094 Posted March 10, 2021 Share Posted March 10, 2021 Not really. There's classical recordings from the early 60s that sound better. But I guess the sound is good for a film score recording, considering the master elements often don't get the best storage conditions. Link to comment Share on other sites More sharing options...
crumbs 14,319 Posted March 10, 2021 Share Posted March 10, 2021 2 hours ago, Holko said: incredible sound for the era! ... and for a Wallin recording. Holko 1 Link to comment Share on other sites More sharing options...
Datameister 2,044 Posted March 10, 2021 Share Posted March 10, 2021 I forgot Dan did that one. Doubly impressive, then...I'm sure he's a great guy, but I've never been a fan of his sound. crumbs 1 Link to comment Share on other sites More sharing options...
Dr. Rick 1,157 Posted March 11, 2021 Share Posted March 11, 2021 So glad I got this release right away, such great sound for the early 1970s! I agree with one of the Facebook posters that once a title gets close to the end of its run they should announce it is low on stock but also limit to one per sale per address to prevent people from hoarding and scalping them later once it is “sold out”. Link to comment Share on other sites More sharing options...
A24 4,348 Posted March 11, 2021 Share Posted March 11, 2021 I don't remember The Cowboys being a sonically good recording ... Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Datameister 2,044 Posted March 11, 2021 Share Posted March 11, 2021 For a film score from the early 70s, the expanded album sounds sure pretty good to my ears! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted March 11, 2021 Share Posted March 11, 2021 13 minutes ago, Datameister said: For a film score from the early 70s, the expanded album sounds sure pretty good to my ears! Sometimes it seems so random what sounds good and what doesn't. I mean, sometimes you hear scores recorded in the 50s that sound *amazing* (The Big Country comes to mind). Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jay 37,378 Posted March 11, 2021 Author Share Posted March 11, 2021 Combination of different budgets leading to different recording studios being used, different people having different levels of mastery of the tech available, and different studios vaulting elements in different ways (and how long they sit in said vault before a high res digital transfer) Link to comment Share on other sites More sharing options...
Jurassic Shark 12,094 Posted March 11, 2021 Share Posted March 11, 2021 46 minutes ago, Disco Stu said: Sometimes it seems so random what sounds good and what doesn't. I mean, sometimes you hear scores recorded in the 50s that sound *amazing* (The Big Country comes to mind). You must be thinking about the rerecording, because the original recording, even in the Quartet release, doesn't sound very good for its era. But then the first generation masters haven't survived either. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted March 11, 2021 Share Posted March 11, 2021 Just now, Jurassic Shark said: You must be thinking about the rerecording, because the original recording, even in the Quartet release, doesn't sound very good for its era. But then the first generation masters haven't survived either. Man I think the Quartet sounds awesome Link to comment Share on other sites More sharing options...
GerateWohl 4,383 Posted March 11, 2021 Share Posted March 11, 2021 Also some scores from the 30s, 40s and 50s didn't even have a natural sound in the movies. So, it is just a matter of taste, if you prefer them in a natural orchestra sound or in the old recording sound, that you heard in the movies. Smeltington 1 Link to comment Share on other sites More sharing options...
Jay 37,378 Posted March 11, 2021 Author Share Posted March 11, 2021 Film scores used to be recorded and kept very dry because movies were always shown in big theaters that naturally made everything echo and sound large. As theaters shrunk, recording techniques changed, and reverb began being added to the masters Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Bilbo 3,709 Posted March 11, 2021 Share Posted March 11, 2021 I think I just got the very last copy of this in the world. The U.K. website had one in stock so I picked it up. Never heard a note of this score but I’ve heard good things about it. Holko 1 Link to comment Share on other sites More sharing options...
Marian Schedenig 8,211 Posted March 11, 2021 Share Posted March 11, 2021 Just now, Bilbo said: I think I just got the very last copy of this in the world. The U.K. website had one in stock so I picked it up. Never heard a note of this score but I’ve heard good things about it. It's a wonderful score, but in my opinion, the concert overture is even better and definitely essential Williams. So you'll still have to track down a copy of By Request. Holko and Jurassic Shark 2 Link to comment Share on other sites More sharing options...
Jay 37,378 Posted March 11, 2021 Author Share Posted March 11, 2021 Or Pops Around The World! Link to comment Share on other sites More sharing options...
Datameister 2,044 Posted March 11, 2021 Share Posted March 11, 2021 1 hour ago, Jay said: Film scores used to be recorded and kept very dry because movies were always shown in big theaters that naturally made everything echo and sound large. As theaters shrunk, recording techniques changed, and reverb began being added to the masters Even now, it seems to me like a lot of film mixes are pretty dry or close compared to the corresponding albums, where you get more room sound and/or artificial reverb. It certainly makes sense to my ear. Link to comment Share on other sites More sharing options...
Jay 37,378 Posted March 11, 2021 Author Share Posted March 11, 2021 Yea, there's no need to fiddle with the sound of the music when you send it to the team putting the final mix together because the overall film mix of music, dialogue, and sound effects will all be mixed together there. For album use it makes sense to take the dry recording and tweak it for independent listening, but then we get into different composers and different masterers using wildly different amounts of reverb from project to project - and everyone having their own preferences about it One of the things I like about session leaks is the completely un-messed-with original sound Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted March 11, 2021 Share Posted March 11, 2021 6 hours ago, Datameister said: For a film score from the early 70s, the expanded album sounds sure pretty good to my ears! Believe me, the Early seventies sounds just as good as today. The only change in producing records is digital allows down mixing with no degradation. Recording is recording is recording.... Jurassic Shark 1 Link to comment Share on other sites More sharing options...
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