ricsim88 244 Posted November 12, 2021 Share Posted November 12, 2021 According to Neumation music FB post, preorder for their Krull full orchestral score will be starting next week. A lot of interesting things coming out these days. Yavar Moradi and 4te 2 Link to comment Share on other sites More sharing options...
bruckhorn 105 Posted November 23, 2021 Share Posted November 23, 2021 They’re now taking orders. https://neumation-music.com/products/krull-in-full-score (Hopefully, I pasted the link correctly.) Target shipping date: late December. Link to comment Share on other sites More sharing options...
Popular Post karelm 2,913 Posted January 10, 2022 Popular Post Share Posted January 10, 2022 This score is fantastic and really deserves more love. I think it forms a sort of quasi sci-fi/fantasy trilogy in Horner's early oeuvre which includes Star Trek II: The Wrath of Khan, Krull, and Willow...each of which are masterpieces. Don't get me wrong, there are other significant early scores like Aliens, Field of Dreams, Cocoon, and Glory, etc., but those are different genres. Similarly, Horner revisits the genre later in his career like in Avatar, but that is late era Horner. I lump Khan out of pure sci-fi and more in allegory like Moby Dick (it just happens to take place in outer space, but Horner brilliantly makes this a fantasy sea faring score with countless naval allusions). Krull is arguably Horner at his most Star Wars/swashbuckling vein. I am so thrilled to finally own this score; it makes me want to revisit the film and remember the memories of seeing it in a theater all those years ago. I think this would be a score well served by live to picture since the score is 90% of the film experience. Holko, Yavar Moradi and Jay 3 Link to comment Share on other sites More sharing options...
karelm 2,913 Posted January 31, 2022 Share Posted January 31, 2022 I finished reading this score today. It's such a fantastic score. No danger motif! The scoring is so amazing. Lots of exotic and very precise instrumentation. Moments where there are 3 piccolos, other moments with 3 pianos. Sometimes a trio of D trumpets, other times Bb and C trumpets, etc. You just never see this level of precision and care on each phrase. Lots of extended techniques and synthesizers too but never doing the horrible 80's synth thing but very interestingly blended. The score is clearly modeled after Star Wars being quite motific with a hero theme, a princess/love interest theme, a villain theme (and chord), swashbuckling action, loads of fantasy and sci-fi tropes, etc. Interestingly, where SW had fantastical characters and settings, Lucas wanted a traditional score to help connect with audiences. In contrast, Krull had a more traditional setting (no space battles, horses instead of ships, etc) and Horner created an exotic score though still rooted in traditional thematic styles. For example, there are some chords (for the beast/black mountain) that I'm struggling to understand how to spell the chord other than "dense cluster". I even felt some of it sounded like Herrmann....not a rip but a tip of the hat. Notice in the clip below, the Horner trope of the Horner Riser at bar 76. This is used in many of his scores but here we get a bit of a "proto version" of it. You hear glimpses of it in ST2, here it is developed. In ST3 it is further enhanced. Very impressively done in Rocketeer, and also prominent in his concert overture, The Fourth Horsemen (aka Flight). I wish they would remix the OST though. Some tracks sound great, others have aged poorly. Stand out moments are Ride of the Firemares and Death of the Beast but there are so many other very memorable moments. One small point, it looks like Neumation Music referenced the sheet music and not the OST which doesn't always match. From reading the score while hearing it, the recorded music is superior to the originally written music IMHO. I'll assume these were changes made on the stand and not put back in the scores. They aren't significant but noticeable to picky listeners like me. Considering this score has millions of notes, this never gets in the way of "understanding" what is happening musically, just very minor nitpicks. It is like having the first edition of a Mahler Symphony. The current version has undergone changes, but they are almost entirely in very specific details, not major revisions. Truly a fantastic and ambitious score (arguably Horner's most ambitious since he had free reign with the mighty London Symphony at his disposable). I ADORE this score and finally having it even further enhances my appreciation of how great it was. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted January 31, 2022 Share Posted January 31, 2022 4 hours ago, karelm said: I wish they would remix the OST though. Some tracks sound great, others have aged poorly. Are you not aware of the multiple expansions it had? The LLL sounds really good. Link to comment Share on other sites More sharing options...
karelm 2,913 Posted January 31, 2022 Share Posted January 31, 2022 9 hours ago, Holko said: Are you not aware of the multiple expansions it had? The LLL sounds really good. Yes, and I own them too. What I'm referring to is on some cues, the horns are close mic'ed with lots of reverb added which does not make them sound far but close with a long reverb tail. We know the mic is a spot mic because there is such little blead from the other instruments as you'd get in decca tree where you would use spot mic to enhance, change volume somewhat, isolate or fill in some missing colors. I don't know why this is done on some cues and not others. For example, in the attached excerpt, the horns sound quite isolated. After a two second pause, I repeat only the left channel and you don't hear the horns at all (you can hear them, but they are barely heard, again showing this is more spot mic bleed then a room mic setup like the decca tree). So, horns are purely coming from the left and isolated, similarly the trombones are isolated but right. The effect is you are getting an unnatural "spot mic" sound with reverb and tight pans rather than a symphonic sound. It's possible this was done for practical reasons like this from a pickup take or maybe even recorded differently and was an edit using the best available source, but it would be better to use more room sound if it were available and a hint of spot rather than only spot as is heard here. If interested, I've attached a comparison from one of my works of the same passage from three perspectives. The first is spot mic only on the brass. So though the rest of the orchestra can't be heard, it's in there through mic blead only but you get a sense for what the horns sound like with close mic only...this is what we're getting in the Krull passage. After a two second pause, there is a tree only...this is what is heard right in the room with no spot mic. A much fuller, richer sound in the brass because the sound is more idiomatic. The third example is the combination of the two and the best overall version. You get the warmth and natural reverb of the room plus filling in some details from the spots but most of the heavy lifting is done from the room mic (the tree). Sound 2.mp3 Compare.mp3 Holko 1 Link to comment Share on other sites More sharing options...
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