Jay 37,359 Posted December 15, 2018 Author Share Posted December 15, 2018 Absolutely! Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted December 15, 2018 Share Posted December 15, 2018 And in the case of George Lucas, it's the other way around! crumbs and bollemanneke 1 1 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 1 minute ago, Nick Parker said: And in the case of George Lucas, it's the other way around! He's one of those rare "exceptions to the rule" you see sometimes. Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 30 minutes ago, Jay said: Most humans can't hear frequencies over 20khz anyway, and if you're over 40 you're lucky to hear frequencies over 15khz. The fact that a few minutes out of 8 hours was missing frequencies over 16khz is really and truly irrelevant, especially when all affected passages are on the OST anyway. It would cost LLL thousands of dollars to create, repress, and mail out replacement discs for no audible difference whatsoever. That money is better spent ensuring more Williams soundtracks come our way. I am 100% positive Mike will examine the frequencies of all studio and engineer supplied elements received in the future, and use that information along with everything else determine the right element for every part of the job. Well said Jay. I couldn’t help but roll my eyes at replacement discs over this. Come on. Taikomochi and Alan 1 1 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 7 minutes ago, TSMefford said: Well said Jay. I couldn’t help but roll my eyes at replacement discs over this. Come on. Couldn't agree more. My discs sound amazing and that's all that matters. Also, I'm getting serious Lost World vibes from Quidditch, Year 3. TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post Josh500 1,615 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 If nobody had mentioned the issue with the cut-off frequencies, I certainly wouldn't have noticed anything. I don't think it's something you'd normally be able to pick up anyway, at least not just by listening to it. I'm actually perfectly happy and satisfied with this set, while still going through all 8 hours of music, in speechless awe of John Williams's unmatched talent and productivity.... TSMefford, Alan and Bilbo 3 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 1 minute ago, Josh500 said: If nobody had mentioned the issue with the cut-off frequencies, I certainly wouldn't have noticed anything. I don't think it's something you'd normally be able to pick up anyway, at least not just by listening to it. I'm actually perfectly happy and satisfied with this set, while still going through all 8 hours of music, in speechless awe of John Williams's unmatched talent and productivity.... Don't forget William Ross. TSMefford 1 Link to comment Share on other sites More sharing options...
pete 907 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, Jay said: Most humans can't hear frequencies over 20khz anyway, and if you're over 40 you're lucky to hear frequencies over 15khz. My dog can! Space Pineapple Prod. and TSMefford 1 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 A bit of fun I just whipped up: Space Pineapple Prod. and Holko 2 Link to comment Share on other sites More sharing options...
Space Pineapple Prod. 183 Posted December 15, 2018 Share Posted December 15, 2018 Here's a bit of fun I whipped up! Hogwarts_lights_WIP_demo.mp4 TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Forgive me. This is a bit rambly. First of all, I want to express my sincere gratitude to everyone involved in making this set happen. Mike Matessino and La-La Land Records have pulled off quite a feat here. I never thought anyone would convince WB to let this happen first off, but low and behold they have and the results are stupendous. I highly doubt we would have gotten anywhere close to this had WB done this on their own. Mike is extraordinarily dedicated to his craft and it shows. The sound quality is absolutely superb, I mean I felt like I was back in 2001 listening to some of this material for the very first time. There are tracks throughout that I swear I had never heard before, but I had indeed. I had merely never heard them like this (See my next post for some of those examples). Then there’s the plethora of music that was able to be included, and it is phenomenal. Just when you think you have everything, there’s still more great gems to be found (Again, see my next post for my favorites of those). Of course, I can not forget about @Jay. The guy is so busy and dedicated to John Williams scores and just scores in general, and I have no doubt he’s deserved and earned such an awesome experience. I’d imagine and assume that Jay did his best to make sure that we’d all be satisfied with this awesome set, but above all that it was a superior experience of the music. That is definitely accomplished. Also have to give a shout out to the fabulous packaging. It’s has a good weight to it, and it is really something to look at. When I saw the initial package composite used on their Facebook page it honestly did look a little cheap, but when you have it in hand and see the great foiling and texture and again, the weight, you can really tell this is something special. It’s lovely! Probably the best looking score set I own! Now, as for the actual music, I am a bit younger here than I feel like most of you are. Harry Potter was my childhood, I feel like I was around Harry’s age when the first film came out. I also grew up in a rather unpleasant household and greatly appreciated the escape the Potter books, films, etc. provided. Now, I credit Jurassic Park with causing my pursuit of film-making, but despite the fantastic score, again, by Williams there it was ultimately Potter that spawned all this. The interest in film music that is. That music captivated me. And I am not joking when I say I have a memory of sitting in the park with a boombox and listening to the Chamber of Secrets score. I’m sure everyone around must’ve been like: Prisoner of Azkaban was yet another step in the growing obsession. That was in my ears non-stop for a good year I’d imagine. I think I even had the Hedwig’s Theme rendition from The Firebolt as a ringtone for a bit. (Side fun fact: The magic wand sound from PoA has been my ringtone for a good 6 years now. It’s quite the conversation starter.) This music started it all, led me here to the forum as well (I lurked for quite some time before joining the conversation). It has quite a special place in my heart, as do the books and films themselves. So, when I began to discover OSTs did not really have the whole score on them and many marvelous little pieces that I fell in love with in the films were nowhere to be found, I greatly hoped that WB would eventually release them. And it only took over a decade, not to mention 7...8 years after the series had wrapped up for it to finally happen. And sure, the Shawm cue might be missing, some things may be out of order (which I will admit has spawned some Azkaban specific queries regarding what some things actually are), but there is SO much here! Almost 8 hours of three utterly fantastic scores by John Williams for some of my favorite films from my childhood (and adulthood, who are we kidding?) and the presentation is stellar. Others have mentioned a similar sensation, but there were so many times listening to this music again that I felt I swear I’d never heard this or that before. It was a magical experience. So, thank you La-La Land, Mike, Jay, and anyone else I can thank for bringing such an amazing set to fruition and for also helping me relive some of my childhood and the joy I had watching these films and listening to this music. I’ve enjoyed every moment this week listening in the car on the way to work (what a way to start and end the day), and in all the downtime I had. Now, I do have some questions, but first I just wanted to point out some specific cues that I loved in my next post somewhere down the line. Space Pineapple Prod., DJMcNiff, Pieter Boelen and 4 others 7 Link to comment Share on other sites More sharing options...
Popular Post Dixon Hill 4,234 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Oh search for compliments if you must, Administrator. Meanwhile, I think I'd like a nice OST, or, a large brandy. Bespin, TSMefford, Bilbo and 2 others 3 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 12 minutes ago, TGP said: Oh search for compliments if you must, Administrator. Meanwhile, I think I'd like a nice OST, or, a large brandy. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 Could somebody explain to me, in a few short sentences, what this "Shawm" cue is? I know this has already been discussed at length somewhere, but right now I just can't find it. Basically what I want to know is... 1. Can this cue be heard in the movie, or is this an alternate that was not used? 2. How much music we're talking about here? 1 minute or longer? 3. What scene was this written for? 4. What's the consensus or official explanation why this wasn't included on the set? Thank you! Link to comment Share on other sites More sharing options...
Holko 9,526 Posted December 15, 2018 Share Posted December 15, 2018 It's source music and can be heard in the Leaky Cauldron when Ron shows the picture of them in Egypt, then Arthur Weasley calls Harry aside to tell him about Sirius, it overlays the first part of Discussing Black. It may be longer then a minute in the film, but that could just be looped. 30+ seconds for sure, I think. 5 hours ago, Jay said: How many times do I have to post that all the Williams score heard in the film is on the CD? I almost started to nitpick as a reflex that the percussion intro and overlay to the slowed down Cadogan is not actually on it, but then it's not Williams, is it? Cleverly chosen words you have! Josh500 and bollemanneke 1 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 4 minutes ago, Holko said: It's source music and can be heard in the Leaky Cauldron when Ron shows the picture of them in Egypt, then Arthur Weasley calls Harry aside to tell him about Sirius, it overlays the first part of Discussing Black. This? Hmmm. Sure, it'd be great if we had it, but this sure sounds like something I wouldn't listen to very often even if we had it. Kinda like the zany, bumbly, otherworldly source cues from TPM... bollemanneke and Once 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 14 minutes ago, Josh500 said: Could somebody explain to me, in a few short sentences, what this "Shawm" cue is? I know this has already been discussed at length somewhere, but right now I just can't find it. Basically what I want to know is... 1. Can this cue be heard in the movie, or is this an alternate that was not used? 2. How much music we're talking about here? 1 minute or longer? 3. What scene was this written for? 4. What's the consensus or official explanation why this wasn't included on the set? Thank you! I'm deviating from my planned post momentarily. But, the "Shawm" cue is a source cue. It can be heard in the film. Here, throughout the first minute. I believe it plays for an extended period before this clip begins as well. Maybe another 20 seconds or so): No idea, on why it was excluded. It's been asked, but I'm personally not going to be pushy with it. It's not much of a loss. EDIT: Damnit. I was DOUBLE ninja'd Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 15, 2018 Share Posted December 15, 2018 7 hours ago, Nick Parker said: Ahhh, okay. Interesting! Are there certain things you can point out about why you prefer the newer Star Wars scores to Harry Potter? Without going into much detail... I prefer his more concise recent writing. It's sort if what happens to most composers late in their careers. They just sort of cut to the chase without showing off. Second reason is that I generally don't like his "kids" music as much as some other stuff. That is why one of my favourite scores of his recent career are The Book Thief and War Horse. Having said that, I enjoy his Potter scores and looking forward to revisiting Azkaban later today. Karol Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 As promised. Here are some of my favorite cues / moments throughout listening to the set. There’s a lot here, but I’m sure I missed some. There’s SO much music. Hoping maybe some of these will spawn some great discussion from everyone. Favorite “old” cues I “rediscovered”: Diagon Alley and The Gringotts Vault (Disc 1, Track 7) The Journey to Hogwarts (Disc 1, Track 12) Through the Doors (Disc 1, Track 13) Fighting the Troll (Disc 1, Track 22) The brass, the energy, everything about it had my heart pumping. I don’t think I have experienced that with this cue before. Filch’s Fond Remembrance (Disc 2, Track 7) I’m hearing some hints of what’s to come from PoA. In The Devil’s Snare (Disc 2, Track 13) The Flying Keys (Disc 2, Track 14) The Chess Game (Disc 2, Track 15) Gryffindor Wins The House Cup (Disc 2, Track 18) 1:46-End is just pure gold. Especially the statement at 2:09. Goosebumps Nimbus 2000 (Disc 3, Track 4) I swear I had never heard this, but I most certainly have. The Escape From The Dursleys (Disc 4, Track 4) I have always loved this cue, but I really felt it again. The Train Station and The Flying Car (Disc 4, Track 9) Always love me some flying car theme. Again, I feel like it’s come alive again. I feel like I’m hearing so much more detail than I previously remember. Instruments I don’t remember being able to pick up before. Quidditch, Second Year (Disc 4, Track 20) The Spiders Attack (Disc 5, Track 6) Similar to when listening to Fighting the Troll. Heart pounding. Don’t know why I have not listened to this cue more. Forget William Ross you guys, this score is pure John Williams! Dueling The Basilisk (Disc 5, Track 11) Reunion Of Friends (Disc 5, Track 15) Just gorgeous. Easily my favorite finale cue of the first three films. Again, pure Williams The Chamber of Secrets (Disc 5, Track 18) The Knight Bus (Disc 6, Track 4) Not sure why, but I don’t think I have ever appreciated this cue as much as I have listening to it again during the wait and even more so in it’s complete form here. It’s stuck in my head. I love it. (More in the new cues section) Favorite new cues / Things to note: New Diagon Alley Material (Disc 1, Track 7) Love this new little section from 0:17-0:27. Really made the whole track feel new and fresh honestly. Teaser & Trailer (Disc 3, Tracks 13 & 18) To have these early / first recordings of Hedwig’s Theme is so damn cool. It’s really interesting to hear how this theme has evolved across the three and to hear it’s very beginning is really special! Christmas Break (Disc 4, Track 27) Great find! Always thought the extension was tracked from somewhere, but I’m glad I was wrong. The reprise of the Christmas music at the end is interesting to hear as well! Prologue: Book II Alt (Disc 5, Track 20) What a cool variation! And what a badass performance on the celeste! Car Drives Off Alt Segment (Disc 5, Track 27) This is gorgeous! Looking at the film I can see that it’s not necessarily appropriate, but wow. So glad this was recorded and included. Television Commercial No. 3 (Disc 5, Track 31) Wonderful arrangement that includes one of my favorite Williams themes. Fawkes! Lumos! (Hedwig’s Theme) [Film Version] (Disc 6, Track 1) Somehow never noticed the film had a different performance / tempo Squeeze Play Waltz (from “The Knight Bus” (Disc 6, Track 4) Again, whole new appreciation for this track. I can’t tell you what it is, but I love the film / intended version of Squeeze Play Waltz from 3:13-3:39. And even the little variation of the Knight Bus stopping right before that as well, emphasizing the Sax and/or Clarinets. Befriending the Hippogriff (Disc 6, Track 12) So many unused goodies in here! The material dialed out of the film is lovely here. And there’s so much of it! About Pettigrew / The Crystal Ball (Disc 6, Track 25) Williams doing creepy ambience. Even getting reminiscent of old horror films at around 1:14-1:41. I don’t recall ever hearing this in the film. Just a super cool track to finally hear. So eerie and beautiful with the flutes and recorders. You don’t hear this kind of stuff now. Confrontation In The Shrieking Shack (Disc 6, Track 31) All this wonderful tension building is of course under dialog in the film and chopped up, etc. What a great tension building, revelatory cue! Time Past / Saving Buckbeak (Disc 7, Track 2) Someone mentioned this earlier, but this track is utterly riveting as it’s presented! I think I had this on while cleaning earlier and just straight up stopped multiple times to take it in. Really excellent. The Firebolt And End Credits Suite (Disc 7, Track 😎 This is probably the most badass track on this set. I mean damn. You’ve got fantastic renditions of great themes and closing it out is this phenomenal brand new rendition of Hedwig’s Theme. WOW. What a raw and wild performance. The only downside here is nothing to do with the set...I just wish they had recorded the whole piece! Aunt Marge’s Waltz Alt (Disc 7, Track 13) Breezing past the utterly essential “That’s A Lie” and “Aunt Marge Points The Finger” cues. This is a super intriguing alternate opening. I can’t wait to put this to picture and see how it jives with it! The Dementors Circle and The Patronus Power (Disc 7, Tracks 22 & 24) What awesome choral pieces! I haven’t quite finished all the linear notes yet, but my assumption is that these were overlays of some kind and Mike was kind enough to include them singled out. If so, what a great idea. These are beautiful! The Firebolt Alt (Disc 7, Track 26) This is quite fun! I found it quite jarring at first, but I actually grabbed it and set it to the scene with dialog and all and it really does work quite well (see later on in this post). Very cool to have! I also enjoy that the full statement of Hedwig’s Theme is here. I’m totally satisfied now. Teaser (Disc 7, Track 27) We all know why this is cool. I mean all I’ve had for the longest time is the really horrid version from the PoA website way way back. Hearing this in stunning clarity is so amazing. Definitely one of my favorites. Another thing of interest is that it was always assumed the opening chords for this were merely a stock track from Brand X Music called “Anticipation” and turns out, it’s all Williams! Some overall thoughts before some questions in yet another post: HP 1 (avoiding the whole SS vs PS debate. lol) is still utterly brilliant. And it has been a whole new experience, but I don’t think there was as much change as I had for the other two. Not saying that I like it less, but I feel like it’s just always been such a masterpiece that I’ve always held it in such a high regard. I guess the better way to put it is that there was less surprise with it. I knew I was going to love it and I did. I really think I have found some more appreciation for Chamber of Secrets. It feels so big, expansive, and raw. It almost feels like the Orchestra is playing looser. I really love the sound of it. I think it’s got what I loved about HP1 and more with all the new themes and ideas. It’s quite phenomenal and what a way to experience it! Likewise, I have even more appreciation for PoA as well. I always knew it was brilliant and diverse, but I’ve never gotten to hear just HOW diverse. It really is all over the place in the best way possible and it all works so well. Some of my favorite examples I scratched the surface on above, but it’s from the source music (except you Shawm, bugger off 😂) to great little cues like “The Walk to Buckbeak”. So great. Plus, we now have so many more great renditions of Window to the Past, Sirius’s Theme, and Pettigrew’s Theme (which had SO much more tracking than I expected) As I mentioned earlier. I loved seeing the alternate for "The Firebolt" to picture. Check it out (unless you don't want to be spoiled for the set)! DJMcNiff, Molly Weasley, Chewy and 2 others 5 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted December 15, 2018 Share Posted December 15, 2018 No Summoning the Patronus in your list? Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 Just now, King Mark said: No Summoning the Patronus in your list? Ah yeah. Definitely. Damnit. I knew I'd miss something. There are so many good ones. That one is definitely fantastic. Love the choral work. Some of it (the section from 1:12-1:20) sort of reappears during "The Dementors Converge (Film Version)" at 2:28-2:34. Great little bit of connective tissue. Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted December 15, 2018 Share Posted December 15, 2018 I was thinking when Harry repels the dementor from the chest. The awesome choral and Past theme rendition with brass and bells(I think) .I think it's the most powerful moment in the score Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 1 minute ago, King Mark said: I was thinking when Harry repels the dementor from the chest. The awesome choral and Past theme rendition .I think it's the most powerful moment in the score Oh yeah that's great as well. I just kind of connected the two scenes I mentioned musically when I heard it again and thought that was a cool moment worth mentioning as well. What are some of your other standouts? Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted December 15, 2018 Share Posted December 15, 2018 I'll let you know in a few days TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post Once 605 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 I'm still at Philosopher's Stone (I have to let it sink in before moving on to CoS). I'm just about to crack open the liner notes. And I still can't get over the awesome "Hedwig's Theme for Harp". He should've kept arranging themes for harp. "Fawkes the Phoenix for Harp", "(A) Window to the Past for Harp". Heck, "Gilderoy Lockharp"! DJMcNiff, Alan, Smeltington and 6 others 4 5 Link to comment Share on other sites More sharing options...
Popular Post Alex 2,835 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Quidditch, Third Year for Harp Pieter Boelen, Alan, Bilbo and 4 others 1 6 Link to comment Share on other sites More sharing options...
Popular Post crumbs 14,314 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Fluffy's Harp for Harp Alan, Bilbo, Chewy and 2 others 5 Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 18 minutes ago, crumbs said: Fluffy's Harp for Harp 🤔 Link to comment Share on other sites More sharing options...
Popular Post Arpy 4,145 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 Fluffy's Harp for Harpsichord Bilbo, TSMefford, Alan and 5 others 2 6 Link to comment Share on other sites More sharing options...
Richard Penna 3,687 Posted December 15, 2018 Share Posted December 15, 2018 10 hours ago, Horner's Dynamic Range said: Aren't you guys taking this anti-OST propaganda a bit too far? You're just bashing the man himself for his intended album presentation. I actually like JW's suites much of the time. They bring together related material very well. My anti-OST stance with Williams almost always comes down to either crucial missing material or bizarre track ordering that ruins any sense of narrative. Both affect the HP OSTs. He completely ruined the wonderful spider/car sequence in CoS by separating the tense build-up and the amazing chase cue, and the time travelling cues in PoA begin with a rather downbeat section for Buckbeak's rescue and then afterwards introduce the actual time travelling. If Williams claims to want to take listeners on a 'journey' then IMO these decisions are working against him. But back to positivity... this set fixes all of these narrative problems beautifully :) TSMefford 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 57 minutes ago, Richard Penna said: My anti-OST stance with Williams almost always comes down to either crucial missing material or bizarre track ordering that ruins any sense of narrative. Both affect the HP OSTs. He completely ruined the wonderful spider/car sequence in CoS by separating the tense build-up and the amazing chase cue, and the time travelling cues in PoA begin with a rather downbeat section for Buckbeak's rescue and then afterwards introduce the actual time travelling. If Williams claims to want to take listeners on a 'journey' then IMO these decisions are working against him. It should be emphasized again, if you choose to use such "harsh" language as "bizarre ordering" and "completely ruined," that it's just your own opinion, and one opinion of many. Because I completely disagree. These scores are 2 hours, more or less. It stands to reason that JW can't include everything on the OST albums. He needs to distill the score into a presentable 70 minutes or so, and that includes shuffling the cues around a bit. That he can't please everybody is only understandable.... I myself am always curious about and fascinated by the decisions JW makes while assembling the albums. It's like an artform in and of itself. And I absolutely love "The Spiders" on the OST of Chamber of Secrets! Link to comment Share on other sites More sharing options...
Brundlefly 2,385 Posted December 15, 2018 Share Posted December 15, 2018 Sometimes it works, sometimes it doesn't. Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 15 minutes ago, Brundlefly said: Sometimes it works, sometimes it doesn't. I don't think it's that black and white. What works for some people doesn't for some others, for whatever reason. And vice versa. That's practically the definition of "you can't please everybody." Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 I love when we have the choice. Recently I've decided that the week I listen to OSTs (because I have less concentration in the bus or at work), and during the week-end I listen only to Expanded Sets. TSMefford and Pieter Boelen 2 Link to comment Share on other sites More sharing options...
Richard Penna 3,687 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, Josh500 said: It should be emphasized again, if you choose to use such "harsh" language as "bizarre ordering" and "completely ruined," that it's just your own opinion, and one opinion of many. 'bizarre ordering' doesn't feel like harsh language for me. I stand by using the words 'completely ruined' for the spiders. It's such a good set piece in the film which I feel Williams missed on album. And yes, it's one opinion of many. But isn't the point of this forum to air those differing opinions? I respect that you like this album assembly in particular, even if I don't understand it. I was simply pondering whether the issues I have with PoA's album is maybe why I didn't find sections of it very interesting which I do now. Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 The OST of a movie always were an "artistical work" on its own. Once you understood that... Expanded Sets... that's pretty much a modern fashion. Well, for people of my age! Link to comment Share on other sites More sharing options...
Richard Penna 3,687 Posted December 15, 2018 Share Posted December 15, 2018 I think Thor is gathering supporters bollemanneke 1 Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 There are very few OSTs I can't stand. TPM by example, because I can't bear Anakin's Theme and Duel of the Fates anymore... gkgyver 1 Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 15, 2018 Share Posted December 15, 2018 And so I am nearing the end of my first full listen of Prisoner of Azkaban. If the album gives you an impression that it is a departure then this complete presentation will make that impression even greater. Yes, there's a bit of the "cute" music in here as well but the overall mood is quite oppressive and spine-chilling. There's a lot of alaetoric horror-like music in this than I remember. I can understand that a casual fan of John Williams might be bit shocked by some of this material. There's a lot of stuff to discover here, the experience greatly enhanced by the fact there was no session leak for this one and the sound mix in the film was quite weak as well. Not to mention the ever-present trimming/editing of the music as heard in the film. So a lot of this stuff we get to hear for the first time properly. Again, as with the Chamber theme in the previous film, it's cool to hear Windows to the Past properly placed within the story and not just presented in 1-2 tracks. The expanded presentation, while probably not as soaring as some of Williams classics, has a much stronger sense of narrative and direction, something that the original album sorely lacked. It's nice to hear things properly placed and some subtle connective material that helps create a much more satisfying whole. I like the time-travelling material that reminds me of some stuff from both Minority Report and Catch Me If You Can. I am also overjoyed we now have music from two trailers and all the source music (especially A Winter's Spell!). Oh and the film version of Lupin's Transformation is very cool too. And it's nice to have all the Patronus choral material. The booklet, again, was a very nice read. But it made me very sad when I read on the last page that Williams returned to London to conduct LSO in concert in October 2018. So yes, wonderful score and quite unique in Williams' catalogue. It's such a massive undertaking to listen to this set, even over 3 days! But it was definitely worth the money and I hope it sells well. I am, however, bit surprised there is not much talk about it on some Harry Potter fan websites. It is really an obscure hobby after all... Karol Bespin 1 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted December 15, 2018 Share Posted December 15, 2018 I feel so isolated unable to talk about all this music without hearing the set. By the time I get the set, it'll be out of fashion, just like the time I brought Pokemon cards to school the day everyone moved on from them to Tamagotchis! Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 In january, talking about the HP set will be totally boring! A. A. Ron 1 Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 15, 2018 Share Posted December 15, 2018 Harry Potter set? Pfff that is sooooo 3 days ago! When is the Indy box set coming out, again? Karol redishere and Bespin 1 1 Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 22 minutes ago, crocodile said: The booklet, again, was a very nice read. But it made me very sad when I read on the last page that Williams returned to London to conduct LSO in concert in October 2018. They really wrote that? Idiots! 🤣 Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 15, 2018 Share Posted December 15, 2018 2 minutes ago, Bespin said: They really wrote that? Idiots! 🤣 The set was supposed to come out in August...and then delayed until October... and then again. So it was evidently ready some time ago. Karol Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted December 15, 2018 Share Posted December 15, 2018 7 minutes ago, crocodile said: The set was supposed to come out in August...and then delayed until October... and then again. So it was evidently ready some time ago. Karol Well, MM will learn a 2nd lesson with the HP set: in a booklet, never write about an event that is supposed to happen in the future... 😎 A. A. Ron 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted December 15, 2018 Share Posted December 15, 2018 1 hour ago, Richard Penna said: 'bizarre ordering' doesn't feel like harsh language for me. I stand by using the words 'completely ruined' for the spiders. It's such a good set piece in the film which I feel Williams missed on album. And yes, it's one opinion of many. But isn't the point of this forum to air those differing opinions? I respect that you like this album assembly in particular, even if I don't understand it. I was simply pondering whether the issues I have with PoA's album is maybe why I didn't find sections of it very interesting which I do now. Well, all's good. I never said you couldn't air your opinions. It's just that "completely ruined" and "bizarre ordering"... such phrases feel like such an exaggeration to me, but if you really feel that way, then okay. I just felt the need to defend Williams (or his decisions), because I don't feel so negatively about the OST albums at all. In fact, I love and treasure them, with all their little flaws. That's all. TSMefford 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 54 minutes ago, crocodile said: And so I am nearing the end of my first full listen of Prisoner of Azkaban. If the album gives you an impression that it is a departure then this complete presentation will make that impression even greater. Yes, there's a bit of the "cute" music in here as well but the overall mood is quite oppressive and spine-chilling. There's a lot of alaetoric horror-like music in this than I remember. I can understand that a casual fan of John Williams might be bit shocked by some of this material. There's a lot of stuff to discover here, the experience greatly enhanced by the fact there was no session leak for this one and the sound mix in the film was quite weak as well. Not to mention the ever-present trimming/editing of the music as heard in the film. So a lot of this stuff we get to hear for the first time properly. Again, as with the Chamber theme in the previous film, it's cool to hear Windows to the Past properly placed within the story and not just presented in 1-2 tracks. The expanded presentation, while probably not as soaring as some of Williams classics, has a much stronger sense of narrative and direction, something that the original album sorely lacked. It's nice to hear things properly placed and some subtle connective material that helps create a much more satisfying whole. I like the time-travelling material that reminds me of some stuff from both Minority Report and Catch Me If You Can. I am also overjoyed we now have music from two trailers and all the source music (especially A Winter's Spell!). Oh and the film version of Lupin's Transformation is very cool too. And it's nice to have all the Patronus choral material. The booklet, again, was a very nice read. But it made me very sad when I read on the last page that Williams returned to London to conduct LSO in concert in October 2018. So yes, wonderful score and quite unique in Williams' catalogue. It's such a massive undertaking to listen to this set, even over 3 days! But it was definitely worth the money and I hope it sells well. I am, however, bit surprised there is not much talk about it on some Harry Potter fan websites. It is really an obscure hobby after all... Karol Very very well said. Link to comment Share on other sites More sharing options...
Popular Post Bilbo 3,709 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 28 minutes ago, crocodile said: The set was supposed to come out in August...and then delayed until October... and then again. So it was evidently ready some time ago. Karol Missing frequencies, missing “a”s, inaccurate information. Disaster of a release. Next thing someone will discover a picture of a fanged frisbee in the booklets with no teeth! redishere, TSMefford, A. A. Ron and 1 other 2 1 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 15, 2018 Share Posted December 15, 2018 After getting some sleep, I’m back. Now onto my questions. Prepare yourself @Jay Some more general ones: Firstly. Do you have a favorite or fondest moment, anecdote, story, etc. from working on the set that you haven’t mentioned and would like to share with us? When these little hidden gems are found like “Car Drives Off (Alternate Segment)” or the alternates for “Aunt Marge’s Waltz” and “The Firebolt”. How are these found? Just listening in on the tapes and suddenly they just pop up? Or is there more to it (seeing it in sheet music, etc. first and tracking it down) Are you able to share with us more details about the making of the set from your perspective? How you were approached, when you got to hear things (and what you got to hear), the interactions between you and Mike, etc.? Some more specific ones, just PoA related, Starting with some more random curious questions. This is based on the cue list and not really anything to do with the set (nor is it a complaint about something not being included), just thought I’d ask while you’re here. What is the cue “Ad-Lib Hum”? I’m assuming that’s Hagrid’s hum thing he does when he reveals Buckbeak? This is an utterly random question. The opening of “The Executioner” includes what I had always assumed to be the Clock Tower in the film. Looking back, it does appear to be a different pitch than the Clock Tower heard throughout the rest of the film. It does raise the question though. Did Williams write the clock chime? Or is that sound guys again? Are there any stories that you know of behind “Trailer” from PoA? Specifically when it was recorded in relation to the score, etc. I ask because it all is so very different from the tone and style established in “Teaser” and the rest of the score. Was all the additional material (that was not present in the film) in “Befriending the Hippogriff” intended for that scene or is there other stuff in there? There’s so much music after the point where the cue stops in the film and not enough time for it all to appear in the scene. I’m sure Williams may have written to an earlier cut, but thought I’d ask if any of it is actually for something else. This is my only problem with deviation from the chronology of things / combining cues. It makes a tad harder to know what everything is. The presentation is still lovely however, I love a lot of the combos you guys came up with. I assume that the very cool opening of “More Grim and Boggarts” is meant to be an alternate of “You Have The Grim”, correct? I am a bit perplexed by the “The Three Broomsticks” track. So, am I right in assuming that the opening 40 seconds is “Up The Stairs”? I assume Pettigrew’s motif was again tracked in to appear multiple times vs the one time it appears here. I ask for confirmation on what the opening was, because this track is very well blended to create a nice cohesive combo of these cues. I was having some difficulty figuring out where there was a split, if there even was a split, or if it was recorded altogether and moved around in the film. Bravo to you guys for this one. Great mixture. Another question on “The Three Broomsticks” cue. The film has a much more reserved / somber ending. 3:07 and onward don’t seem to appear in the film at all (with the exception of 3:30-End appearing with the choir only). Is this more somber ending hiding somewhere on the set / Tracked from elsewhere? Or is that another case of the sound guys coming up with something / remixing the cue? Oh! Is this cool little extension from 2:36-End in “Buckbeak’s Fate and the Marauder’s Map” the Reveal Your Secret cue from the sheets that wasn’t used in the film? I really dig it! Thats all I have for now. I’m sure there will be more to come. Again, what a wonderful piece of art. Link to comment Share on other sites More sharing options...
Popular Post Holko 9,526 Posted December 15, 2018 Popular Post Share Posted December 15, 2018 5 minutes ago, Bilbo said: Missing frequencies, missing “a”s, inaccurate information. Disaster of a release. Next thing someone will discover a picture of a fanged frisbee in the booklets with no teeth! If only the release was delayed 5 times this year they could've fixed these! (says I jokingly if it wasn't clear) bollemanneke, TSMefford and Bilbo 1 2 Link to comment Share on other sites More sharing options...
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