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Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition

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5 hours ago, Thekthithm said:

Film stems sound better anyway. They're more true to how the music sounded in the movie.

 

True but when there's volume dips in the track it presents a problem and not very good for a listening experience. It threw me off when I was listening to the score, got to that track and heard volume dips in the track.

 

Especially since the pristine boot has no volume issues with said track.

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The producers of these specialty label albums should seek out connected fans when official material provided by the studio is missing something

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12 hours ago, Trent B said:

Whoever the hell the mail man was yesterday needs a bitch slap.  There was another package in the tiny mail box of ours and BOTH packages should have gone into the larger one that was open. I had a hell of a hard time getting the package with the CD out as the package was shoved in there badly and tight and it almost got stuck when I was trying to get it out. Luckily the CD itself along with the case was unharmed.

 

Surprised you guys still use mailboxes LOL, everything this side of the world is either courier-to-door or counter-to-counter. 

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I guess that's because if you did have mail boxes, they would've been frequently robbed. :)

 

26 minutes ago, Jay said:

The producers of these specialty label albums should seek out connected fans when official material provided by the studio is missing something

 

Nice thought, but I guess Hook showed us that the label most likely wouldn't be allowed to use material that's not official.

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Those illegal boots that sound better are property of the studio anyway, so there shouldn't be any difference. And besides, who's gonna know? Is someone at Buena Vista going to check that the film stem tracks all sound like film stem tracks?

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4 hours ago, Stefancos said:

 

Wouldn't that be potentially problematic legally, though?

 

Explain why you think so? 

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On 11/2/2019 at 2:43 AM, Jay said:

 

Explain why you think so? 

 

On 11/1/2019 at 6:59 PM, Jurassic Shark said:

I guess Hook showed us that the label most likely wouldn't be allowed to use material that's not official.

 

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On 11/2/2019 at 10:02 PM, Luke Skywalker said:

If the studio has officially licensed a score to a label, a bootleg is like another different source for it. They own that music, the bootleg was 'stolen' from them..so they have every right to reclaim it. Specially if it's the better or only source available for it it should be used....

 

I guess the studio disowns those better sources once they've leaked.

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Just because Didier didn't want to use files a fan sent in on Hook almost a decade ago doesn't mean a different producer on a different film from a different film studio for a different specialty label wouldn't do so.  Heck, LLL just announced a new edition of Kamen's Road House, and right in the press release indicates that 6 tracks on their release came from Intrada's master because their source from the film studio didn't have them.

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2 hours ago, Thekthithm said:

 

I guess the studio disowns those better sources once they've leaked.

 

My thinking is along these lines. Surely a studio doesn't want to acknowledge in any official way the existence of bootlegs or a leak of its property, and would rather use an inferior source that came from within their own archives.

 

It doesn't make practical sense, especially given that some composers leak or give out their own scores in perfectly releasable quality, but I don't think image-conscious companies like admitting that stuff leaks.

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On 11/5/2019 at 3:38 PM, Jay said:

Heck, LLL just announced a new edition of Kamen's Road House, and right in the press release indicates that 6 tracks on their release came from Intrada's master because their source from the film studio didn't have them.

 

That's comparing apples and oranges, though, since those six tracks came from an official album release.

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On 10/25/2019 at 2:14 PM, Jay said:

@Brundlefly Trent is theorizing that the drum roll was actually recorded as the true opening of The Parachutes, but there's never been a sheet music leak so we actually have no idea.

 

Know anybody in the L.A. area? There's an easy way to find out: http://collections.new.oscars.org//Details/Archive/71303042

 

EDIT: So, the answer turns out to be right in the booklet, which shows a bit of the original cue sheet. The selected take of 'The Parachutes' was 2:05, so nothing was edited out.

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I am still waiting. Varese dispatched a replacement copy almost two weeks ago after the previous one was lost somewhere (shipped on the 10th of October). And now this one is running almost a week late. The fact that Worldmail doesn't show any tracking doesn't help. I have no idea what to think anymore. 😂

 

Karol

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On 9/27/2019 at 7:00 PM, Jay said:

12. Parachute Attack (Film Version) (3:24)
13. The Hijacking, Part One & Two (Film Version) (7:51)
14. K.V. & The Hostages (Film Version) (1:29)
15. Marshall’s Plan (Film Version) (1:05)
16. K.V. Lectures (Film Version) (0:32)
17. Sign It (Alternate Take) (2:08)
18. Get Off My Plane (Film Version) (4:51)
19. Air Force One In Trouble (Alternate Take) (3:15)

So, are the bonus tracks all alternate versions or takes or is there another film edit track?

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3 hours ago, Brundlefly said:

So, are the bonus tracks all alternate versions or takes or is there another film edit track?

 

They're alternates which were used in the film instead of the ones in the main body of the score.

 

I put the film version tracks in the main body of the score for my iPod EXCEPT for the film version of "The Hijacking". I don't like the editing job they did for "The Hijacking" film version.

 

1 minute ago, Mr. Manfrenjensenden said:

Isn’t the film version of the hijacking just tracked / looped music?

 

 

Yes it is. It was not necessary to have it with this release but I guess it's something Varèse wanted.

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Sad thing but it looks like everything is going downhill. First the Raggedy Man/RoboCop 2 shenanigans earlier this year. Now this. I love what they're doing for film music but I probably won't be ordering from them anymore. It is just too much (not even mentioning the custom charges attached). :lol:

 

Karol

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On 11/22/2019 at 4:32 AM, crocodile said:

I am still waiting. Varese dispatched a replacement copy almost two weeks ago after the previous one was lost somewhere (shipped on the 10th of October). And now this one is running almost a week late. The fact that Worldmail doesn't show any tracking doesn't help. I have no idea what to think anymore. 😂

 

Karol


Varèse shipping department see’s Crocodile’s order....

 

 

 

image.jpeg

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3 hours ago, crocodile said:

Sad thing but it looks like everything is going downhill. First the Raggedy Man/RoboCop 2 shenanigans earlier this year. Now this. I love what they're doing for film music but I probably won't be ordering from them anymore. It is just too much (not even mentioning the custom charges attached). :lol:

 

Karol


I'd recommend ordering from from Movie Music.  I haven't ordered from him in a long time but I had ordered from Peter Kelly (owner and founder) for a few years and always has top notch service.

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4 hours ago, Trent B said:

I put the film version tracks in the main body of the score for my iPod EXCEPT for the film version of "The Hijacking". I don't like the editing job they did for "The Hijacking" film version.

So that one is from the film stems and the rest is actual alternate recordings?

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I don't know about the theory that the drum roll for the End Credits is the original version of The Parachutes. Isn't it more likely that they recorded a beefed-up version to have an introduction for the - for the rest - tracked end credits? That's a common practice as well.

Also, the first 34 seconds seem to be a different recording, it's only from then onwards that it seems to phase when you align the tracks.

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Yea it's more likely it was recorded for the end credits. 

 

Wouldn't it be nice if the producers of this answered questions like Mike and Neil do for their releases? 

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On 11/28/2019 at 6:41 PM, crocodile said:

Aaah! Finally, after 49 days! 😀

 

 

I'd forgotten about that! Still don't have it, as my latest order is LLL only and I'm still waiting for something to bundle AFO with somewhere.

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On 11/27/2019 at 6:22 PM, Richard Penna said:

Air Force One In Trouble is the track from the film stem. The Hijacking is just edited.

 

It's weird they used a film stem for "Air Force One In Trouble" considering the boot version of said cue has no volume issues.

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5 hours ago, Jay said:

Yea it's more likely it was recorded for the end credits. 

 

Wouldn't it be nice if the producers of this answered questions like Mike and Neil do for their releases? 

 

Have anybody tried to get an interview with them about this release?

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Here's a quick editing guide for Air Force One:

-Combine The Parachutes and The Parachute Attack (Film Version)
-Start with the opening of the end credits, switch to The Parachutes about 34 seconds in, and combine with The Parachute Attack for an alternate version
-Combine the opening of the film version of Ivan and the Hostages (this is presumably taken from film stem) with the album track (which has the rest in better quality); this way you only need one version in your edit.
-Marshall's Plan is the same except the film version has an additional opening, so you can use just that version.
-Sign It is not an alternate take, just has an alternate ending.
-Add "Empty Rooms" from album (with shortened silences) or the bootleg (silences intact) for the alternate ending (an alternate take with slightly different instrumentation in brass).
-Replace "Air Force One in Trouble" with the alternate take because the one in the main programme has volume dips and a very bad editing error.
 
Fact check:
-Target Air Force One is the same take as on the bootleg I have.
-Get Off My Plane is except for the opening entirely the same take.
 

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