What Is The Last Score Fanedit You Worked On?

ThePenitentMan1 · September 4, 2023

I thought this would be a fun idea for a thread, a dedicated spot where we, the faneditors of the board, can talk about our score fanedits strictly from an editing perspective.

This fanedit for Titan A.E. is mostly based on the La-La Land release, though I also found a bootleg that has more cue splits, uncut silences, a better-mixed version of You've Been A Little Uppity, and the film version of Captive (The LLL version of Captive [0:31-end of Track 17] doesn't feature the "Drej Drone" in the beginning, and also holds on the sustained strings [at 3:08 of Track 17] for around 5 more seconds than the Film Version).

One interesting thing I noticed is that one of the cues MV had said was missing upon the LLL album's release, "It's Me Cale", appears to be tracked from the ending of Launch (when the Valkyrie approaches the Tigrin Ice Ring), with the ending of the prior orchestral section dialed out. It makes me wonder if, when I get myself more and more familiar with this score, I might find that the other two missing bits were actually tracked as well. (Though I also can't deny the possibility that Revell actually composed a cue for that scene that was replaced with the ending of Launch in the film.)

Tallguy · September 4, 2023

Tron - Wendy Carlos (1982)

01 - Creation of Tron
02 - We've Got Company
03 - Break In [for Strings, Flutes, and Celesta]
04 - Wormhole
05 - Ring Game
06 - Lightcycle Games (From Tron)
07 - Escape
08 - Water, Music, And Tronaction
09 - Miracle and Magician
10 - Magic Landings
11 - Tower Music - Let Us Pray
12 - The Light Sailer
13 - Sea of Simulation
14 - A New Tron and the MCP
15 - Anthem
16 - Little Interludes (From Tron)
17 - Ending Titles (Film)
18 - Only Solutions
19 - Trinitron (From Tron)
20 - Theme from Tron
21 - Tron Scherzo
22 - Love Theme
23 - Anthem [Studio Version] (From Tron)
24 - 1990's Theme
25 - Only Solutions (12")
26 - Creation of Tron V. 1 (From Tron)
27 - Creation of Tron V. 2 (From Tron)
28 - Anthem for Keyboard Solo
29 - Tronaction [Original Version]
30 - Ring Game and Escape
31 - Ending Titles

I'm not sure if this meets your definition. But I put together my "Ultimate Tron" by Wendy Carlos using the Disney CD and some additional tracks I've found elsewhere including Carlos' Lost Scores CDs.

I'm not certain this is complete or even if it's 100% chronological.

I split Ring Game and Escape into, well, Ring Game and then Escape. There's the unused Lightcycle Games in the middle.

I edited the End Titles to follow the film with the first part of End Titles being followed by Journey's Only Solutions. Then it's a good place to put the second section of the Album End Titles which is Trinitron.

Then I have the "suites" Theme from Tron, Tron Scherzo, and Love Theme.

Two of the source tracks, the remaining Journey track, 1990's Theme, and then the 12" version of Only Solutions (which is actually heard when Flynn, Laura, and Alan are planning the break in to Encom).

There are a few early versions of tracks from Carlos's CD as well as the Disney CD.

Then I wrap it all up with the unedited album tracks including the rousing finale of Ending Titles.

It don't usually listen all the way through, but I think it's a nice presentation of the score and I enjoy the Journey tracks only I like them better where they are here.

Thor · September 4, 2023

I don't edit tracks, but I try to make playlists sometimes, if a score I like is presented excessively in C&C. But that's probably not the kind of fan editing you had in mind?

Brónach · September 4, 2023

7 minutes ago, Thor said:

I don't edit tracks, but I try to make playlists sometimes, if a score I like is presented excessively in C&C. But that's probably not the kind of fan editing you had in mind?

with classical music if i dont like parts i go to the part i like but i always forget to make a playlist. but i could try that. i've been meaning to bring music outside for long walks, and it's cool if it jumps to something else entirely after twenty minutes or so.

Holko · September 4, 2023

The only differences to the Intrada main program are:

I switched Mahita's Death to the bonus track mix because I liked it better
I extended You've Been Hit - it starts with the bonus version until the Zebra overlay would end, then it goes back to the main program version for that louder section and overlay.
I switched The Trap's middle section with the bonus mix
I like the credits opener transitioning into The Claws - Revised, but I don't like how dark the credits suite ends, so I redid it, The Claws - Revised transitions into the OST version (The Bridge) with its different ending, very slightly sped up to match the tempo, then that leads into the reduced original version of Welcome to Tsavo #2, with the family theme removed so we just get a nice soft relaxed John, Africa, and another soft John to finish it.

Then I included my 2 favourite source music (?) pieces, and then my usual suite of the most different/interesting alternates:

The unique middle bit of the OST Lion Attack
The Baboon (Original)
Preparations (Original)
The first half of The Thicket (Original), until the high pitched synth stuff come in
The ending of the OST Final Attack

Oh, and I also had to adjust the cover in 30 secs, the official upload's black levels are off - just bumped up the contrast and adjusted the light level, then also the saturation with a slight hue shift to make the eye really glow.

ThePenitentMan1 · September 4, 2023

6 minutes ago, Thor said:

I don't edit tracks, but I try to make playlists sometimes, if a score I like is presented excessively in C&C. But that's probably not the kind of fan editing you had in mind?

Y'know, you bring up a really interesting question here: does playlist-ing count as making a fanedit?

So... maybe?

For what it's worth, when I made this thread I intended for it to be a counterpart to the "Last Score You Listened To" thread; while that one implicitly focuses more on the music itself, this one's more about the technical side of things: what sources we use, how we combine the sources to make our own personal "ultimate" version of the score, discussing unreleased cues, undoing microedits, faking cue splits, things like that.

I guess putting it like that, the implied goal of these fanedits would be "C&C, unless otherwise noted".

Tallguy · September 4, 2023

26 minutes ago, ThePenitentMan1 said:

I guess putting it like that, the implied goal of these fanedits would be "C&C, unless otherwise noted".

Well... Not to be contrarian, but I have several edits that are explicitly NOT C&C. I just happened to lead with one that was.

I have my "I used to skip all of this stuff" playlist of Star Trek: The Motion Picture that plays the Overture and then skips all the way to Captain's Log - Warp 7 and Meet Vejur. It loses all of the early statements of the Main Theme and goes right for the eerie atmospheric stuff that I used to leave OFF of my playlists. (Ah, the follies of youth.)

ThePenitentMan1 · September 4, 2023

3 minutes ago, Tallguy said:

Well... Not to be contrarian, but I have several edits that are explicitly NOT C&C. I just happened to lead with one that was.

Well, I did say "unless otherwise noted."

3 minutes ago, Tallguy said:

I have my "I used to skip all of this stuff" playlist of Star Trek: The Motion Picture that plays the Overture and then skips all the way to Captain's Log - Warp 7 and Meet Vejur. It loses all of the early statements of the Main Theme and goes right for the eerie atmospheric stuff that I used to leave OFF of my playlists. (Ah, the follies of youth.)

My work playlist for TMP is the complete score, minus Malfunction (for the same reason the scene it goes to is often deleted in fanedits: too much of a sour note for what's otherwise a pretty optimistic film), and the three Steiner cues between Spock Walk and The Meld (I'm very physically active at my workplace, so having TMP as a work playlist is already a bit of a stretch, but those cues really drain my energy at work). Highlights from the Alternates section pad out the remaining time until break starts.

For my home playlist I keep everything in the main program in place, and also incorporate the alternate take of Goodbye Klingon as "14m1 - V'Ger Arrival [Director's Cut Tracking]".

A quick-and-dirty look at my home playlist, without the alternates section:

Star Trek 1 TMP.png

Tallguy · September 4, 2023

26 minutes ago, ThePenitentMan1 said:

Well, I did say "unless otherwise noted."

You did, you did.

27 minutes ago, ThePenitentMan1 said:

the three Steiner cues between Spock Walk and The Meld

I never realized those were all Steiner.

Holko · September 4, 2023

My STTMP edit is pretty comprehensive.

I only lost a couple early cues, but I have an Alternates assembly, an assembly of the session chatter and early take tracks, an assembly of the isolated beam and synth material, the disco track and the song... I love how much stuff the 3-disc edition had!

A score I'm split of is Die Hard: I just can't stand the sound of some of the cues, I'm bored by/indifferent to many others... but then I love the rest. Hence:
Both Message to Hollieses are in there separately, both the recorded and the film version of Hans' fall, a combination of the recorded and film under the Table, and a lot of other changes/reorderings/main+alt combos I can't remember probably. But the one I'm most proud of, the sudden stroke of mad genius, is Main Title: the cello Ode to Joy source cue (when the terrorists enter the party), with the sleighbell rhythm starting and sloooowly increasing in volume under its final held note, synced to the end of the cello, at which point the film/main program Main Title starts playing.

Brónach · September 4, 2023

1 hour ago, Tallguy said:

the eerie atmospheric stuff that I used to leave OFF of my playlists. (Ah, the follies of youth.)

ah yes the cool part

enderdrag64 · September 5, 2023

Technically I'm still working on it, but I have a complete score edit for Toy Story 2. It's sourced primarily from the FYC and the C&C releases, with the 2005 DVD as a secondary source for clean music (from the menus and a couple bonus features).

For the cues for which no clean source is available, I've used this youtube upload of excerpts of the apparent music & effects track on the Australian release of the 2005 DVD (every other region only got a sfx track). I've been meaning to acquire a copy of that set myself to rip "losslessly", but in the meantime the youtube rip will have to do. There's also some additional clean music on the 2010 DVD and the bluray, but I don't have either.

The cues that still have their original album metadata are ones I haven't touched in editing yet. This is primarily because these cues aren't in the sheets.

I have a separate folder for cues that have any sfx, which is still a very early work in progress:

Technically 2m2 and 5m7r have large portions clean via the DVD menus, but my rule is if any part of the cue has sfx it goes in this folder

ThePenitentMan1 · September 5, 2023

Titan A.E. again: I made quite a few radical changes today.

I took out the "unreleased" bits that actually turned out to be mostly, if not entirely, tracked music, and instead I added in the three most prominent songs from the "montage" sequences. These songs are arguably the most memorable music in the film, and nicely compliment the score without flooding it with too much 2000's pop. The rest of the songs from the film's song album are completely expendable, despite the fact that all of them do indeed appear in the film.

I also changed the cue combos for The Gaoul, The Moon, and My Father Must Have Been Here to match their usage in the film.

Also, a WIP of Treasure Planet:

Treasure Planet WIP.png

Apparently the "Recording Sessions" I'm using for this contains album edits, like in Solar Surfer (which contains an excerpt from Prologue), which I'm going to have to remove if I want to do this fanedit properly. This is gonna be real fun to puzzle out... but for this score, it'll be 100% worth it.

Holko · September 5, 2023

On 04/09/2023 at 5:32 PM, Holko said:

The only differences to the Intrada main program are:

I switched Mahita's Death to the bonus track mix because I liked it better

I extended You've Been Hit - it starts with the bonus version until the Zebra overlay would end, then it goes back to the main program version for that louder section and overlay.

I switched The Trap's middle section with the bonus mix

I like the credits opener transitioning into The Claws - Revised, but I don't like how dark the credits suite ends, so I redid it, The Claws - Revised transitions into the OST version (The Bridge) with its different ending, very slightly sped up to match the tempo, then that leads into the reduced original version of Welcome to Tsavo #2, with the family theme removed so we just get a nice soft relaxed John, Africa, and another soft John to finish it.

Then I included my 2 favourite source music (?) pieces, and then my usual suite of the most different/interesting alternates:

The unique middle bit of the OST Lion Attack

The Baboon (Original)

Preparations (Original)

The first half of The Thicket (Original), until the high pitched synth stuff come in

The ending of the OST Final Attack

Oh, and I also had to adjust the cover in 30 secs, the official upload's black levels are off - just bumped up the contrast and adjusted the light level, then also the saturation with a slight hue shift to make the eye really glow.

And now I had to adjust it a bit: I forgot the unique opening of The Bridge from the OST so I replaced the Tall Grass part of the main program track "The Claws - Revised" with it (which I renamed The Bridge because I like it better), since Tall Grass is already tracked as Opening Title.

September 6, 2023

22 hours ago, enderdrag64 said:

There's also some additional clean music on the 2010 DVD and the bluray, but I don't have either.

Could you post a guide showing how you made your edits? I might be able to fill in some of the gaps in the information, since I have the 2010 DVD/Blu-ray.

Also, this website says that there is an isolated score in Region 2. That could be referring to another music and sound effects track though.

enderdrag64 · September 6, 2023

2 hours ago, 29944 said:

Could you post a guide showing how you made your edits?

I mostly followed my spreadsheet (at least for the album stuff, I didn't put all the menus in here yet):

https://docs.google.com/spreadsheets/d/1CoecptYu4INqR3tmeJL0GUVG67gD-dkA9NJLSkSvfW4/edit#gid=1007916511

I just went cue by cue down the list. The OST was irrelevant since all the material was also on the C&C. For material on both the FYC and C&C I prioritized the FYC since it had less dynamics compression.

90% of the cues had clean openings and endings although there were a couple with crossfades that were a little annoying. 1m10->2m3 in particular was a bit difficult to undo, I ended up faking it using Audacity's noise removal which actually worked pretty well.

2 hours ago, 29944 said:

I might be able to fill in some of the gaps in the information, since I have the 2010 DVD/Blu-ray.

Oh cool thank you! I believe you posted those menu breakdowns on the Film Music Wiki right? That was one of my primary sources for tracking down the menu music. I'd be curious to know whether those cues are complete or not

2 hours ago, 29944 said:

Also, this website says that there is an isolated score in Region 2. That could be referring to another music and sound effects track though.

Yeah I've seen that before as well, but the only other place I've seen it mentioned was here where people said it was a myth. It would be awesome if it really did exist though

enderdrag64 · September 7, 2023

Okay, here is some more information about the 2010 DVD/Blu-ray:

https://docs.google.com/spreadsheets/d/e/2PACX-1vQ7FICFj7TaaEbfbt39Am03tbNLrIqy4_0-IkgQdajk_JxRF_cImfOwz74NK7GG55fpGJtEE1rS88Bf/pubhtml

The Joe Ranft documentary is included on both.

Richard Penna · September 7, 2023

I decided that FotR and RotK needed an 'alternative' album suitable for car listening, fixing a few issues I had with Shore's album. I should note that on the whole I think his edits and combinations are 5 stars, considering he had to do this before completing the score. There are just half a dozen or so swaps I'd make given the luxury of the entire score available.

This is what I came up with for RotK, and it's a WIP as this comes with a good 10 mins of space left.

01 - A Storm Is Coming
02 - The Road To Isengard - a nice scene setter for the start of the movie with Frodo and Sam
03 - Twilight And Shadow
04 - Minas Tirith
05 - The White Tree
06 - Minas Morgul
07 - Cirith Ungol
08 - Andúril
09 - Dwimorberg - The Haunted Mountain - the CR track plus the one after, giving us mountain material plus the Rohirrim leaving. Probably some scope here to include a bit of Paths of the Dead here too as I'm 9 minutes lighter than a CD.
10 - The Battle Of The Pelennor Fields - the CR track but with the edit heard at the end of the OST track re-done. Maybe some of the initial siege to go in before this.
11 - Shelob's Lair - it's soooo tempting to add in the Sam fanfare but what Shore did here is masterful.
12 - Shieldmaiden Of Rohan - a suite of Dernhelm in Battle and two bits of Shieldmaiden.
13 - The Houses Of Healing - I felt the OST was missing an 'end of battle' piece so we calm things down before the third act starts.
14 - The Black Gate Opens
15 - The End Of All Things
16 - The Eagles - bridges the gap between these cues nicely.
17 - The Return Of The King
18 - Elanor - I find the prior track andThe Grey Havens a bit tedious and by this point I just want to get to the end, so this is a nice short end cap to the score. In fact, unpopular opinion time: the wrap up for this film is cinematic cheese at its highest, and Shore's music comes dangerously close to being 'hey, everything's great now! everyone must be really happy clappy!' which is the type of scoring I'm allergic to. I'm looking at a suite that picks the best bits of the wrap-up.
19 - Into The West

FotR was far less dramatic. I removed Prancing Pony and the second half of Treason, added a small suite of Bilbo material and lent the resultant space to including most of the Moria sequence, retaining one of Shore's edits to leave out the troll fight.

ThePenitentMan1 · September 18, 2023

Treasure Planet is finished!

I combined Prologue with Flint's Legend, so that the cues run as if Jim hadn't interrupted the flow of the story by closing the book.

I removed the tracked-in bit from Prologue from Solar Surfer, and also incorporated a bit from the Film Version of the cue, where an electric guitar doubled up the strings playing the second part of the main theme (2:19 of the OST track "12 Years Later"). The unedited album version (but still without the Prologue edit) opens the bonus section.

Here's the bit from the film I'm talking about, by the way:

I actually found the full unedited instrumental for the Film Version of I'm Still Here on YouTube, so it was a no-brainer to try to recreate the film version myself. The album version edits around a bunch of stuff, altering the intro and adding a chorus before the "Jim's Flashback" bridge.

In the main program I combined the film version of I'm Still Here with Jim Thanks Silver; in the bonus section, the cues are split. I have both the discrete film version and the instrumental film version rendered in the folder for the fanedit, but I only have the discrete instrumental in the main playlist to prevent the excessively redundant crowding of the playlist with this one song. My "Cue Splits" version of the playlist contains the discrete film version with the vocal.

To mimic the film's cue assemblies, I combined Doppler Wants To Go with To The Spaceport, Jim Chases Morph with The Mutiny, The Map Is Morph with Ben, Captain Flint with Booby Trap, and Doppler Escapes with Silver Saves Jim. (Booby Trap technically overlaps with Doppler Escapes, but it's not that distinct of a transition, so I just opted not to replicate it.)

The fake "Recording Sessions" contains an insert for The Launch, pulled from the film's End Credits. This insert is an alternate ending that removes the underscore for Silver's compliment to Captain Amelia. This insert is not listed in the known cue list, and was most likely changed on the podium.

I'm probably going to change my mind on this later, but for now, Doppler Wants To Go, Cosmic Storm, and Booby Trap are repeated as-is in the bonus section, simply because the known cue list lists alternates for those cues that aren't present in the fake "Recording Sessions". It's possible they were never recorded... but I really hope they were, and that an eventual official expansion is able to include them.

One last thing: The original ending of Silver Leaves is absolutely beautiful! For my work playlist that combines Treasure Planet with Titan A.E., I end Treasure Planet with the original Silver Leaves because the ending segues perfectly into the opening for Titan A.E.'s Prologue.

Holko · September 30, 2023

I like cues from Search for Spock but not a fan of the whole thing, so the solution was to assemble a 25 minute suite to put at the end of Khan's program.

00:00-06:30 Prologue and Main Title - Perfect opener

06:15-08:48 The Mind-Meld - Joins in here nicely, love the strings at the end

08:44-11:17 The Klingons (03:25-end) - Had to follow that end up with this nice array of fanfares

11:05-13:10 The Klingons (01:05-03:10) - Had to have this bit, thought it better to switch the order

13:06-15:20 A Flighting Chance to Live (00:00-2:14) - The strings follow the tension of the previous bit very nicely

15:15-16:22 A Fighting Chance to Live (02:44-end) - Edited out the bit in the middle to only have the good parts, resolved this middle action bit very well

16:22-18:38 Spock Endures Pon Farr (00:41-end) - Had to have more Spock material, it's a good buffer here but doesn't last long, reintroduces the Klingon action material at the end so that Enterprise can pay it off

18:37-19:24 Stealing the Enterprise (00:00-00:47) - Love this opening bit

19:22-20:40 Stealing the Enterprise (01:44-02:58) - My problem with this cue is that it sabotages its own fantastic momentum with some slow interruptions, edited them out for this program finisher reimagining of it

20:40-23:39 Stealing the Enterprise (04:01-07:00) - The only transition I don't really like but can't do much with, had to keep in a bit of that deleted malfunction scene's dark scoring

23:39-24:37 Stealing the Enterprise (07:02-08:00) - I hate the stretching of the last note in this fanfaric rendition of the main theme to twice the length so I cut it down to match the previous lower pitched rendition

24:37-24:47 End Titles (06:03-end) - Slots in perfectly to cap the whole thing off

Brónach · September 30, 2023

ideally matrix reloaded/revolutions is going to play as a single score.

ThePenitentMan1 · October 3, 2023

On 30/9/2023 at 1:12 AM, Holko said:

I like cues from Search for Spock but not a fan of the whole thing, so the solution was to assemble a 25 minute suite to put at the end of Khan's program.

00:00-06:30 Prologue and Main Title - Perfect opener

06:15-08:48 The Mind-Meld - Joins in here nicely, love the strings at the end

08:44-11:17 The Klingons (03:25-end) - Had to follow that end up with this nice array of fanfares

11:05-13:10 The Klingons (01:05-03:10) - Had to have this bit, thought it better to switch the order

13:06-15:20 A Flighting Chance to Live (00:00-2:14) - The strings follow the tension of the previous bit very nicely

15:15-16:22 A Fighting Chance to Live (02:44-end) - Edited out the bit in the middle to only have the good parts, resolved this middle action bit very well

16:22-18:38 Spock Endures Pon Farr (00:41-end) - Had to have more Spock material, it's a good buffer here but doesn't last long, reintroduces the Klingon action material at the end so that Enterprise can pay it off

18:37-19:24 Stealing the Enterprise (00:00-00:47) - Love this opening bit

19:22-20:40 Stealing the Enterprise (01:44-02:58) - My problem with this cue is that it sabotages its own fantastic momentum with some slow interruptions, edited them out for this program finisher reimagining of it

20:40-23:39 Stealing the Enterprise (04:01-07:00) - The only transition I don't really like but can't do much with, had to keep in a bit of that deleted malfunction scene's dark scoring

23:39-24:37 Stealing the Enterprise (07:02-08:00) - I hate the stretching of the last note in this fanfaric rendition of the main theme to twice the length so I cut it down to match the previous lower pitched rendition

24:37-24:47 End Titles (06:03-end) - Slots in perfectly to cap the whole thing off

Very nice! (Though wasn't it a deleted snowstorm scene on the Genesis Planet?)

Here's the home playlists for my TWOK and TSFS fanedits:

Star Trek 2 TWOK.png

Fairly straightforward, with a few exceptions:

After the Genesis Project source music, NL197's mockup of The Reliant kicks off the Alternates section. (It doesn't sound right in the main section of the playlist at all)

The alternate session take of Kirk Takes Command... I honestly have a hard time telling it apart from the Film Take, and that's usually the point where I kick it out of the fanedit altogether. But unlike TMP and its mountain of Alternate Takes, TWOK is pretty barren in terms of alternates, especially this early in the film's runtime, and I like the way Kirk Takes Command flows in the Alternates section, so it stays.

The unused insert for Battle In The Mutara Nebula is included assembled into the track proper, as per Jay's preference. This track is placed towards the end of the Alternates section.

The Album Version of Epilogue/End Title doesn't contain the Spock narration; it only includes the alternate take used for the ending. (Now that I think of it, I actually haven't checked if Theme From Wrath Of Khan also used that bit; if it does I may just replace this track with that one) EDIT: It does! My playlist now ends with that track.

Star Trek 3 TSFS.png

I split Klingons into two tracks, Klingons and Spacedock, for the obvious reasons. Spacedock is from the Film Take of Klingons; the Album Take of the same section doesn't sound quite as good.

As many of the Film/Album versions as possible are renamed to accurately reveal which ones were composed first, as is my preference. (Side note: I'm honestly impressed that it appears to be that every single one of TSFS's rewritten cues that weren't used in the film wound up on the OST!)

For Stealing The Enterprise (With Insert), I re-edited the transition from the insert to the rest of the cue to occur at 0:23, right when the crazy violin bit ends. (While the version with the insert is technically the original composition, in this case I prefer making it clear by the track titles that there's an insert in one of the cues instead, otherwise I'd call the Insert version "Original" and the non-Insert version "Alternate".)

-----

My work playlist combines TWOK with TSFS to fill out the 1h50m timeslot I have between first break and lunch.

As that playlist currently stands, TWOK is (technically) complete, while a few less propulsive cues from TSFS were dropped for time: Spock's Cabin, The Klingon's Plan, and Katra Ritual.

All Film Versions, except for Returning To Vulcan. (I like the Spock Theme procession in that version more than the Vulcan Theme procession in the Film Version)

Stealing The Enterprise and Grissom Destroyed are also swapped to create a better sense of tension and then relief.

To ensure the rest of TSFS could fit, I made a track titled "Wrath/Search Crossover" which combined the film version Epilogue from TWOK with the film version Main Title from TSFS.

The transition occurs at 0:26 of this clip:

I also made a track for this playlist called "Wrath/Search Finale", which replaces the entire End Title portion of TSFS's End Title with the equivalent portion of TWOK's End Title. TWOK's End Title gets completely bypassed with the Crossover, and I do prefer the performance of TWOK's End Title to TSFS's End Title, so this edit lets me have my cake and eat it, too.

The transition occurs at the horn ostinato at 0:25 of this clip.

Holko · October 3, 2023

2 minutes ago, ThePenitentMan1 said:

(Though wasn't it a deleted snowstorm scene on the Genesis Planet?)

Yeah I thought it was something like the the transporter malfunctions and puts them in a snowstorm.

ThePenitentMan1 · October 3, 2023

9 minutes ago, Holko said:

Yeah I thought it was something like the the transporter malfunctions and puts them in a snowstorm.

That sounds... a little too silly to be Search For Spock, especially with how short this bit in Stealing The Enterprise is.

I always assumed that it was just a cutaway to Savvik and David just to remind us that they exist.

Holko · October 3, 2023

4 minutes ago, ThePenitentMan1 said:

I always understood that it was just a cutaway to Savvik and David just to remind us that they exist.

Checked the booklet, you're right!

ThePenitentMan1 · October 8, 2023

On 17/09/2023 at 11:37 PM, ThePenitentMan1 said:

Treasure Planet is finished!

In the main program I combined the film version of I'm Still Here with Jim Thanks Silver; in the bonus section, the cues are split. I have both the discrete film version and the instrumental film version rendered in the folder for the fanedit, but I only have the discrete instrumental in the main playlist to prevent the excessively redundant crowding of the playlist with this one song. My "Cue Splits" version of the playlist contains the discrete film version with the vocal.

Just revisited my edit for this this morning... And now I think it's good enough to share:

Tallguy · October 8, 2023

An underrated classic to be sure!

It probably says a lot about me that two of Diz's biggest bombs (Atlantis / Treasure Planet) were almost tailor made for me.

ThePenitentMan1 · October 9, 2023

On 04/09/2023 at 10:47 AM, Holko said:

My STTMP edit is pretty comprehensive.

I only lost a couple early cues, but I have an Alternates assembly, an assembly of the session chatter and early take tracks, an assembly of the isolated beam and synth material, the disco track and the song... I love how much stuff the 3-disc edition had!

Could you break this down? I'm interested in learning which versions of which cues you used.

I'm also trying to whittle down my TMP edit while also keeping the most interesting, unique alternate bits from the OST and Disc 3.

Holko · October 9, 2023

53 minutes ago, ThePenitentMan1 said:

Could you break this down? I'm interested in learning which versions of which cues you used.

Sure, I could try tomorrow if I don't forget. Mostly pretty straightforward, the base is just the main program, didn't really switch out alternates or alternate takes.

Holko · October 13, 2023

On 09/10/2023 at 8:17 PM, ThePenitentMan1 said:

Could you break this down? I'm interested in learning which versions of which cues you used.

I'm also trying to whittle down my TMP edit while also keeping the most interesting, unique alternate bits from the OST and Disc 3.

Whoops, sorry, forgot to follow up on this!

The basis for the main program was the 2012 LLL main program, my only real problem was the pacing of the first act. Overture is actually Ilia's Theme (Alternate) from the end of disc 3, it was the version of the theme I liked the most I guess. I wasn't a fan of Goodbye Klingon/Goodbye Epsilon 9/Pre-Launch so I removed it, but then the space between Enterprise and leaving Drydock was too short so I moved No Goodbyes in front of Malfunction. This also left the two Courage TV Themeses too close together, and I don't love them anyway, so the choice was obvious, I only left the longer TV Theme / Warp Point Nine, removed TV Theme /Warp Point Eight. I also used the isolated elements from the bonus tracks to make the synth in Leaving Drydock and the blaster beam throughout The Meld a bit louder, but especially when the meld happens. End Title is the OST take, not sure now why I preferred it.

"The Trek Suite" is: the unrecorded Overture mockup, Leaving Drydock (Early Version), No Goodbyes (Early Version), Spock's Arrival (Early Version), Micro Exam (Early Version), Games (Early Version), Inner Workings (Early Version), The Enterprise (Early Version) and The Meld (unrecorded early version mockup. (The mockups come from this release: https://lalalandrecords.com/star-trek-collection-the-final-frontier-limited-edtion-4-cd-set/)

"The Sessions" is an assembly of the raw chatter and first takes - I ran Main Title (First Raw Takes) until the first proper take began, then transitioned it midway to the second aborted take (I found it more interesting how the instrument sections slow and wind down), then from then it's the other such track The Force Field/The Cloud (Excerpts). The beam at the end is a good lead-in to the next track, "Concerto for Beams and Synthesiser", which is a slightly cut down Beams and Synth for V'Ger (mostly removed the parts where it's just the synth going brrr at a lower pitch and volume), then Beams and Synthesizer for Ilia, then Synthesizer for Main Theme, I adore how Mike managed to assemble a near-complete main theme rendition from overlays all across the score.

I love the way the end of disc 3 is assembled so I pretty much kept it, that last synth is a great lead-in to the disco piece, then the song, then... since I already used a version of Ilia's Theme but replaced Overture with it, Ilia's Theme here is actually Overture (Long Version), then of course the concert edit to close it.

Faleel · October 13, 2023

On 03/10/2023 at 5:37 AM, ThePenitentMan1 said:

I do prefer the performance of TWOK's End Title to TSFS's End Title, so this edit lets me have my cake and eat it, too.

This is my Trek III playlist, green are the edited tracks, I combined the alternates with the film versions in one.

ThePenitentMan1 · October 13, 2023

1 hour ago, Presto said:

They're the same composition, but noticeably different performances. Different instruments are more prominent at different points between the two. The TSFS End Title is also performed more slowly, as you can see here (Only the first 1:11 are identical between the two tracks; the rest of Wrath/Search Finale is the TWOK recording of the End Title):

Star Trek 2 TWOK+TSFS End Title.png

TSFS End Titles:

Wrath/Search Finale:

Listen to the Horn ostinato at 0:25; the trombones are more prominent in the TSFS End Titles, while the trumpets and horns are more prominent in the TWOK version. The TWOK version just feels better-balanced than the TSFS version.

2 hours ago, Holko said:

Whoops, sorry, forgot to follow up on this!

The basis for the main program was the 2012 LLL main program, my only real problem was the pacing of the first act. Overture is actually Ilia's Theme (Alternate) from the end of disc 3, it was the version of the theme I liked the most I guess. I wasn't a fan of Goodbye Klingon/Goodbye Epsilon 9/Pre-Launch so I removed it, but then the space between Enterprise and leaving Drydock was too short so I moved No Goodbyes in front of Malfunction. This also left the two Courage TV Themeses too close together, and I don't love them anyway, so the choice was obvious, I only left the longer TV Theme / Warp Point Nine, removed TV Theme /Warp Point Eight. I also used the isolated elements from the bonus tracks to make the synth in Leaving Drydock and the blaster beam throughout The Meld a bit louder, but especially when the meld happens. End Title is the OST take, not sure now why I preferred it.

"The Trek Suite" is: the unrecorded Overture mockup, Leaving Drydock (Early Version), No Goodbyes (Early Version), Spock's Arrival (Early Version), Micro Exam (Early Version), Games (Early Version), Inner Workings (Early Version), The Enterprise (Early Version) and The Meld (unrecorded early version mockup. (The mockups come from this release: https://lalalandrecords.com/star-trek-collection-the-final-frontier-limited-edtion-4-cd-set/)

"The Sessions" is an assembly of the raw chatter and first takes - I ran Main Title (First Raw Takes) until the first proper take began, then transitioned it midway to the second aborted take (I found it more interesting how the instrument sections slow and wind down), then from then it's the other such track The Force Field/The Cloud (Excerpts). The beam at the end is a good lead-in to the next track, "Concerto for Beams and Synthesiser", which is a slightly cut down Beams and Synth for V'Ger (mostly removed the parts where it's just the synth going brrr at a lower pitch and volume), then Beams and Synthesizer for Ilia, then Synthesizer for Main Theme, I adore how Mike managed to assemble a near-complete main theme rendition from overlays all across the score.

I love the way the end of disc 3 is assembled so I pretty much kept it, that last synth is a great lead-in to the disco piece, then the song, then... since I already used a version of Ilia's Theme but replaced Overture with it, Ilia's Theme here is actually Overture (Long Version), then of course the concert edit to close it.

Thanks, Holko! Over the course of the week, I actually managed to nail down which bits of the OST/Disc 3 extras I wanted for absolute certain to keep in my TMP fanedit; when I wake up tonight I'll get the screenshots ready so I can share it and break it down.

Holko · October 14, 2023

Kilar's Dracula is one where I had to do a lot of things to perfect it, the LLL really is just a big playground to do as you please with. All tracks named are the main program version unless noted otherwise.

Dracula - The Beginning is a mix of the main program and alternate versions. Until 3:13 it's the main version, then I added the choir from the corresponding section of the alternate (2:56-3:02) as an overlay. I really didn't like the overextended single choir notes ending the Sanguis Vita Est section of the main so I replaced that section with the alternate's shorter notes, then let the main's playoff finish the track.
The unused Mina/Jonathan theme suite felt like a perfect little bit of calmness to drop in here before the journey begins.
The Castle is Dracula Toolbox D18A (the low bassoon one) + The Castle + The Legacy + Spilled Ink
The Brides would've been too repetitive as just The Book + To the Brides + The Brides, but thankfully To the Brides has its much more lowkey mysterious alternate so I used that instead to give the track a nice arc.
The Storm... where do I even start? I thought the main program piece was a bit short and not as impressive in this spot as it could have been, and I took some inspiration from the horribly executed film/album assembly.
- 00:00-00:15 is the first 15 seconds of Lucy's Lullaby.
- 00:15-02:52 is the main program The Storm (00:00-02:37), entering intentionally violently in a weird spot to disrupt the beautiful harp, with Whispered Drac (choir) sped up and laid over the very opening between those brass stabs. Then the piece would switch gears into the next section, but I wanted to milk it some more, so...
- 02:52-03:10 is 01:26-01:44 of the instrumental Storm
- 03:10-03:16 is 02:22-02:28 of the instrumental Storm with a phrase of Lucy's Lullaby (vocal) as an overlay to replicate the main program version and signal the gear change, but I'm still milking it more...
- 03:16-04:17 is 02:28-03:29 of the instrumental Storm, until a good enough buildup stop place where I can finally transition back to...
- 04:17-04:26, which is 01:26-01:35 of the main Storm, yes, I'm going back to repeat material to build up the choral gear change again
- 04:26-07:08 is 01:54-04:40 (end) of the main Storm, I skipped a few beats in the repeat then just let it play out now that we've built up to it so much. But now there's a problem, this has been turned into such a huge piece that an 8 second held note is no longer a sufficient playoff and breather. So...
- 07:08-08:36 is 07:28-08.54 (end) of the main program Dracula - The Beginning. Whew! This was a lot of fun to figure out back in the day and I definitely have a lot of fun listening to it and not really thinking about/noticing what I did to it.
So far the pacing issues I had mostly came from smaller cues on their own with spaces between them, so I just joined and crossfaded them. Here some reordering was needed, I regrouped gentle and horror cues to alternate less. Love Remembered is Love Remembered + The Cinema, the very gentle woodwind version is a good intro to the "only" gentle woodwind version.
Lucy's Window is Lucy's Neck + Lucy's Window
Rules Café Waltz is the extended album suite version
The Hunt Builds is Lucy Squirms + The Hunt Builds
Dracula Revealed / Lucy's Lullaby is Dracula Toolbox - Lucy's Lullaby (harp) + The Letter II + Dracula Revealed + Lucy's Lullaby (Vocal) + The Stake, I think I succeeded in giving this piece some nice escalation.
Vampire Hunters is Vampire Hunters + The Hunter's Prelude
A Journey East is Dracula Toolbox D18C (the low woodwind version) + The Green Mist (moved it back here because it feels like such a great ominous "things are happening soon" intro, it's devalued if it's followed by Mina/Dracula) + The Fire (alternate) + So Cold
Race Against the Sunset is Mina Possessed + Ring of Fire + Race Against the Sunset alternate + Race Against the Sunset
I didn't love either version of the credits just following The End (main program or OST or film), but Love Song for a Vampire follows it up perfectly, and the unused Dracula Toolbox D21 is a perfect finale.
The Dracula Suite is my usual assembly of the most interesting of the remainders: Vampire Hunters (OST piece) + Love Remembered alternate + Dracula Toolbox D18B (the oboe version) + So Cold alternate + Dracula Toolbox - Tears to Diamonds (music box) + Mina / Dracula (extended suite) + End Credits (original version) with Whispered Drac as an overlay to its ending

Holko · October 14, 2023

For E.T., the main program didn't need much work, I inserted The Encounter and The Kiss (the latter joined to Frogs), and of course joining Rescue / Bike Chase with Departure. But after years of attempts and iterations I finally assembled the post-program into something I love.

The E.T. Adventure is a good separator.
Then I thought of the OST pieces as "Suite from E.T." and assembled them into the best order. Then I replaced 1:40-2:21 of Abandoned and Pursued with 5:20-5:54 of the wonderful Far from Home / E.T. Alone alternate.
So then comes the Alternates assembly.
- 00:00-00:30 is the first 30 seconds of Far From Home
- 00:30-01:02 is 01:01-01:32 of Invading Elliot's House (alternate), the only real different section which happens to be a reprise of this section of Far From Home with strings and woodwind additions. I included the last timpani hit as a transition point at a much lower volume.
- 01:02-01:40 is 01:38-02:16 of Far From Home (alternate), the only real different section with the additional high pitched tuba bit.
- Then comes Levitation, Meeting E.T. (alternate) and E.T. is Dying
- 06:45-06:58 is 00:00-00:13 of Searching for E.T. (alternate), the only different bit is now covered
- 06:58-07:12 is 00:43-00:58 of Searching for E.T. (alternate), to cut it short and end with a good transition point
- 07:12-09:00 is 00:00-01:48 of End Credits (alternate), the only different bit is more than covered but there wasn't a good place to cut it short until here
- 09:00-10:10 is 02:43-03:55 of End Credits (alternate), so I jumped it forward to the later Flying Theme.
- End Credits stood in nicely for Bike Chase, so of course it has to end with The Departure (alternate), which has both the different segments compared to the main program version.

ThePenitentMan1 · October 15, 2023

Okay, so here's where my Star Trek TMP edit stands now. The 2-CD LLL is used as the base for this edit, for its many updates, including the boosted Synth parts in many cues. The 3-CD and the LLL Final Frontier Collection are also used as needed.

The Main Playlist:

The main section of the playlist consists entirely of the score as it appears in the main program of the 2-CD LLL Release, including starting with the long version of the overture.

-

I split as many tracks as possible into either their individual cues, or left assembled to mimic the film assembly. I took Spock Walk, Pt.1 off of Games and re-attached it to Spock Walk, Pt.2, to create the full composition as Goldsmith initially planned it. Spock Walk, Pt.2 also starts with 0:00-1:21 of the rebuilt album version (That part's actually the same take between the two tracks), with the less in-your-face synth overlays from 1:00-1:15, so it essentially matches the way it's presented in the 3-CD release... Except it's built using only the 2-CD release. The clean ending of Games was faked using the end of the incorrect "1999 Album" take from Disc 3.

-

As I mentioned earlier in this thread, The "V'Ger Arrival [Director's Cut Tracking]" track is Goodbye Klingon (Alternate Take) from Disc 3. I like the way this take of the cue sounds, and making it a completely different track from Goodbye Klingon made it easy to justify its inclusion. If it weren't for that, I doubt I would've bothered with this take.

-

The "Overture (Alternate)" track and the Total Logic, Pre-Launch Countdown, and The Meld tracks that are designated "(Original)" are the Joe Kramer mockups from the LLL Final Frontier Collection, of course. I messed with the volume on each of those tracks to expand the dynamic range wherever appropriate (E.G. the Vulcan establishing shot, Spock stopping the Kolinahr necklace, the climax of Body Meld, etc.).

I like the Alternate Overture as a start to the Alternates section; it makes it more clear it's starting than having the familiar rendition of Ilia's Theme that we just heard in the End Title.

-

The tracks The Enterprise, Leaving Drydock, No Goodbyes, Spock's Arrival, Micro Exam, Games, and Inner Workings that are designated "(Original)" are the "Early Version" cues, as they appear on the 2-CD LLL. The corresponding Film Version cues are labeled "(Revised)".

-

With those aside, the Main Title and The Force Field tracks designated "(Alternate Take)" are both from Disc 3. They're both well-performed and different enough from their respective Film Versions that I don't mind including them at all.

-

The Album Take of Ilia's Theme is programmed after The Meld (Original) [that is, the Body Meld (Early Version) mockup].

-

Finally, End Title (Original) is the "Film Version" from the 2-CD LLL main program. End Title (Revised) is the Album take from the rebuilt OST on the 2-CD LLL—the version with the synth overlays and the longer Ilia section in the middle—but with one important distinction: 2:34-end is spliced in from the Film Version. The Film Version seems to use an uninterrupted take from that point all the way through to the end, while the Album Version has a weird-sounding hard cut to another take that, honestly, isn't even any appreciably different. But since I can't really call it the "Album" Version anymore, I went with the "(Original)/(Revised)" naming convention, with the Film Version being designated the "Original" due to using S199 vs the Album Version's S200.

-----

The Additional Alternates Playlist:

Star Trek 1 TMP Additional Alternates.png

All of the content from the main playlist's Alternates section, with some additional extras that would've unreasonably bloated the runtime had they been included in the Main Playlist:

-

Overture (Short Version), the original 1979 Film Version of the Overture.

-

Main Title/Klingon Battle (Album Version), using mostly the 2-CD OST rebuild as the base, but with 1:45-5:44 replaced with the equivalent section from the Film Version to undo the microedits. Main Title is a completely different take from the Film Version, as many of you know, while Klingon Battle is nearly identical to the Film Version, except for the opening (1:24-1:44), and the very tippy ending (6:42-end Album, 6:50-end Film). The discrete Main Title from Disc 3 was also used separately to create a reasonably clean opening for Klingon Battle (Album Version) [not pictured in this playlist, but I'll just go ahead and share the result here]

Unfortunately, this technique can't be applied to extract the clean ending of Main Title (Film Take) like I'd initially hoped it would, as Klingon Battle (Film Version) has a different opening from the Album Version.

-

The Cloud (W/ Album Insert) has a bit of an interesting story to it; initially I just took the whole track from the 2-CD OST Rebuild and only used the Film Version to undo the microedit in the middle, but after a long while of being frustrated at trying to figure out which parts were actually different take portions from the Film Take (vs just being the film take but mixed differently), I just gave up and went the other way with it; I edited 0:52-1:17 from the Album Version (which is the only uniquely interesting difference from the Film Version in the whole track) into the Film Take and called it an "Album Insert". [Interesting tidbit: there's a jumpy edit at 0:52 of the Album Version, which gives away that there's an edit to a different take there; presumably this is S180. My "Album Insert" starts right at the point where the jump cut occurred and ends right before the microedit.]

-

Appearing right before The Force Field (Alternate Take) is The Force Field (W/ Alt. Intro). This uses the aborted S205 from the infamous "missed streamer" session as an "insert" for the Film Take, S204. The wayward reed instrument (would be at 0:47 in this preview; it's at 1:15 in The Force Field/The Cloud [Excerpts]) was patched over with the Alternate Take, S208.

-

Next up is Games (Revised, Alternate). I initially wanted to keep all four versions of Games in my edit, but I always struggled with wanting to whittle down the number of alternates this cue had. Ultimately, I've found that the Early Synth Version has too many technical glitches and the Alternate Take is too poorly performed to keep them both in earnest. Instead, I took just the most interesting parts from both cues (The beam-less establishing shot from the Early Synth Version and the "Sneaky Spock" stuff with the extra "snap" for the neck pinch from the Alternate Take), edited them into the middle of the final Film Take, and called it "Games (Revised, Alternate)".

-

A Star Beyond Time is sandwiched between The Meld (Original) and Ilia's Theme. It's so lovely, listening to the original, more romantic version of The Meld, and then immediately following it up with the love song. It'd be totally corny if both of these were actually used together in the movie, sure, but I really dig it like this.

-

Main Title (Early Take) is made with S59, S61, and S62 from the Main Title [First Raw Takes] track. I like to think of this as being more or less the Film Version of the Main Title if it had been conducted by Goldsmith instead of Lionel Newman.

S59 opens much like the film version does, with snares doubling the bass drums, except there's an extra bass drum hit in the middle of the opening that seems like it's not supposed to be there; I patched in a small section from S61 to get rid of it. The brass in S59 goes a little too strong towards the end for the supporting role they're supposed to play at that point, so I replaced the last half of the take with S62. A small patch back from S59 to fix a slightly rough performance in S62, and the edit's complete!

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Inner Workings (Revised, Alternate Mix) is Disc 1, Track 21 of the 3-CD LLL set. The quieter mix level for the wind machine, for when I'm more in the mood to hear the piano crescendo.

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The Meld (Album Take) is the track from the 2-CD LLL set, but with the twinkly synths cut in from the Album Master from the 3-CD LLL set. The way those twinkly synths sparkle is one of my favorite things about this take, and it's the main thing that, in my mind, sets it apart from the Film Take, so when I heard the rebuilt version on the 2-CD Album, I knew I had to fix it as soon as I could.

I slowed down the Album Master by 0.5%, to match the timing with the 2-CD track. Then I spliced in the twinkly synth bits from 1:13-1:27 and 2:08-2:17. The results sound terrific!

-

And lastly, we have A Good Start with its clean opening to lead us into End Title (Revised).

-----

The stuff that gets left off (In LLL 3-CD Order):

Leaving Drydock (Album Version). I originally really wanted to keep this (I mean, it's an encore for Leaving Drydock! Why wouldn't you wanna keep that, right?), but ultimately, I ran into the same issue as The Cloud: I couldn't keep track of all of the bits of alternate takes used in the track, and the bits I could recognize as being different didn't impress me, so I just gave up on this track altogether.

-

Vejur Flyover. This is literally the exact same take as the Film Version, just with a microedit to shorten the beat before the ending.

-

Spock Walk (Album Version). The album take used for the middle section definitely sounds different from the film take, but unlike Main Title or The Cloud, it's not really a podium-dictated compositional difference or anything; all the instruments used in this take are also in the film take, just performed more quietly. Maybe if there weren't so many other, more interesting alternates and alternate takes in this score, I'd be more open to including this, but as it stands, it just doesn't have enough to offer on its own. My hybrid track with the Album's quieter mix for the synths, but with the Film Take for the middle section, is good enough for me.

-

Total Logic/Malfunction/No Goodbyes/Spock's Arrival/Inner Workings (Alternate Takes). These, plus Goodbye Klingon, were used in the 2001 Director's Edition. Total Logic, Malfunction, 0:14-1:27 of Spock's Arrival, and 0:00-0:50 and 1:51-3:08 of Inner Workings were used as intended, replacing the correct Film Take in those areas, while No Goodbyes was used as an extension for Games and Goodbye Klingon was tracked over V'Ger's arrival at Earth. Total Logic, Spock's Arrival, and Inner Workings were also used in the 1999 Album, though Total Logic had its take number incorrectly labeled.

Aside from Goodbye Klingon, none of these alternate takes interest me, except in a purely archival sense. I had briefly considered the alternate take for Inner Workings as an excuse to include the alternate mix with the quieter wind machine (That part's actually the same take between the two tracks), but it wasn't long before I gave up on that and just used the 3-CD's Disc 1 version instead.

-

Micro Exam [Alternate Take]. This one... actually surprised me. It's obviously not on the 1999 Album, but the funny thing is... It doesn't look like it was used in the 2001 Director's Edition either, at least not in its original intended spot. The intended scene uses the correct take in the 2001 Director's Edition. I have no idea why this take was chosen for the 3-CD release. (Anyway, it's redundant, so my fanedit doesn't need it.)

-

V'Ger Speaks [Alternate Take]. An edit of S166/169/170, according to the booklet. The Film Take is S167; the 2001 Director's Edition seems like it uses the correct film take, both before and after the loop point. By process of elimination, that would mean the Alternate Take is the 1999 Album version of the cue. Incorrectly labeled (as just S170) on the 1999 album, of course... which is weird because they'd had to have cut together the takes themselves, and thus would've known for sure which takes were used, wouldn't they?

Oh, whatever.

I'll be honest, I'm not even that big a fan of V'Ger Speaks in the first place. Every source for this cue that I listened to, it mostly just sounded the same to me; in comparing the two 3-CD tracks with the 1999 Album and 2001 DE, I just gave up halfway through. If this cue has to be in my fanedit at all (and it does, of course), it'll just be the Film Take and that's that.

-

The Meld (Film Version). One of the three survivors of the Disc 3 Purge, alongside Overture (Long Version) and A Good Start [Discrete]. A worthy inclusion for the 2-CD LLL, for sure, but for my edit, it was either this or the album take, and I ultimately chose to include the album take over this.

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Bob James - Main Theme from Star Trek: The Motion Picture. It's... poppy and lengthy. It's nice enough in its own right, but it doesn't really "slot into" my fanedit as easily as A Star Beyond Time did.

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Ilia's Theme (Alternate). Ilia's Theme, performed at a slower tempo with a slightly different arrangement of the piano solo. I enjoy this one enough listening to it in the Audacity project, but not quite enough to render it out and include it in the fanedit proper.

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Theme from Star Trek: The Motion Picture. An edit of the End Title with an unused take of the Main Title (from the same sessions the Film Take came from) edited into it. Not bad for what it is, but also not really that neccessary for me.

_{[This took me two whole nights to write up gosh...]}

Tallguy · October 15, 2023

I need to take time to really delve into this. Suffice to say that you experience TMP on a different level than I do. And I do not make that admission lightly. Kudos.

ThePenitentMan1 · October 15, 2023

1 hour ago, Tallguy said:

I need to take time to really delve into this. Suffice to say that you experience TMP on a different level than I do. And I do not make that admission lightly. Kudos.

Believe me, I only really delved deep into the finer details of the Disc 3 Alternate Takes last night.

But yeah, thanks.

_{...V'Ger Speaks still scares me.}

ThePenitentMan1 · December 12, 2023

A Charlie Brown Christmas

(Sourced mostly from the 1-CD Deluxe edition, with Youtube rips for any missing holes)

My approximation of the OST, sans premature fade-outs:

A Charlie Brown Christmas (OST).png

My findings for linking these tracks to the recording sessions:

Spoiler

O Tannenbaum (Christmas Tree Lot)
#2, Take 1
Album Take, also used in Broadcast

What Child Is This?
Greensleeves (Take 12)
Album Take

Christmas Time Is Here (Instrumental, Album Take)
#6, Take 2
Album Take with originally-recorded ending

Christmas Time Is Here (Vocal, Revised)
#1, Take 7
Final Accepted Take

Skating
#3, Take 7
Final Accepted Take with originally-recorded ending

Christmas Is Coming (Album Take)
#5, Take 4
Album Take

The Christmas Song
Take 11
Album Take

Greensleeves (Bonus Track)
Take 8
Used in a later re-release of the album

-----

(Approximate) Broadcast Order+Alternates:

A Charlie Brown Christmas (Complete).png

First is the broadcast takes used in the special in approximate broadcast order, then the four tracks that appear on the album, but not in the special (Including the Bonus Track version of Greensleeves; I've highlighted these four tracks to help visualize the breaks between sections), then we finish with the alternate takes not used in ~~the special~~ the main program, in mostly OST order.

Details on the rest of these tracks:

Spoiler

Christmas Time Is Here (Instrumental, Broadcast Take)
Christmas Time Is Here (Instrumental) (#2, Take 3)
Used in Broadcast

Christmas is Coming (Broadcast Take)
#1, Take 7, Sep 17th
Used in Broadcast

Linus And Lucy
#4, Take 1
Recorded For The Special, used in Broadcast

O Tannenbaum (A Sign Unto You)
#2, Take 5
Used in Broadcast

O Tannenbaum (Alternate)
#2, Take 2
Unused, more lively rendition

Christmas Time Is Here (Vocal, Original)
#1, Take 4
Unused rendition featuring the kids choir "oo"-ing the melody without lyrics

Skating (Extended)
#7, Take 1
Unused, longer rendition

Christmas Is Coming (Alternate)
#1, Take 3, Sep 21st
Unused rendition featuring a very dynamic bridge

Greensleeves (Alternate)
Take 6
Unused rendition performing the song "bossa nova"-style

The Christmas Song (Short Version)
Take 8
Short Version with just Vince; ends before the rest of the band would've joined in

The Alternates were chosen based on what was picked for the Recording Sessions Highlights section of the 1-CD Deluxe Edition. The interestingly different takes are kept from it; the ones that seemed to be incorrectly-picked broadcast takes were left out in favor of the correct broadcast takes.

The information I've gathered about this score comes from both this webpage: https://chrono-score.blogspot.com/2022/12/a-charlie-brown-christmas-1965.html

...and the comments section on the official uploads of the recording sessions: https://www.youtube.com/watch?v=TVbv3lu0EdI&list=PLLG_xm_uUlt-oYopnYUePSg7nUDFJnkL3&index=23

I haven't done much direct comparison with the special myself, except for Christmas is Coming (where I had to sort through some contradictory information that made me wonder what was going on), so I might have to correct some more of this stuff later on.

Holko · December 24, 2023

Main program:

An overall problem I had is that the silences left between tracks are just getting too long for my taste, especially when many tracks already end with long held notes fading out, so I shortened the dead air at the end of many tracks. This and the joining of some tracks actually removed so much time that even though I added music to the main program from the bonus section, the length of my edit main program came back down to 2:16!
Banning Back Home is the longer earlier version.
The Bedroom is joined with The Nursery Scene with just a soft overlap, the latter starting near the end of the fadeout of the former - not sure I'll keep this one.
When You're Alone (Moira's Lullaby) is soft joined with Saying Goodbye.
Forgotten How to Fly is soft joined with The Stories Are True (Alternate), which I used to lose some of the repetitiveness and because I like how its lowkey ominousness leads into the Low Below section better.
The Arrival of Tink and The Flight to Neverland are joined into one track but with no real overlap, I just wanted to get their timing right.
Presenting the Hook is the vocal version.
Enter Rufio and The Lost Boy Chase are joined with a hard overlap (last note with first note). I noticed that the percussion is already there for a section of the main program Chase, so what I did was isolate the revised percussion overlay well enough by phasing the two versions, and I put it under the main program version trying to match the volume of the percussion that's already there, this way it's all present (I like the sound of it a lot) but it's not as overpowering as in the bonus track version, and I don't lose the brass from the main program version either.
Banquet and Never-Feast are joined, I selected a place in the repeating ending of the former where the latter would take over, turns out it's pretty much the same way JW joined them for the concert piece!
Peter Remembers (The Flying Sequence) is joined with You Are The Pan with a hard overlap, this was the one that bothered me even back when I was just watching the movie on black friday while following along with the LLL tracklist, the latter so perfectly flows from the unfinished winding down energy of the former and caps the sequence off so nicely.
Tink Grows Up is hard joined with Ultimate War which is hard joined with Death of Rufio which is soft joined with The Sword Fight and The End of Hook, because for the latter I couldn't find a way to hard join them that felt just right. Also, for the Lost Boy entrance segment, I used the OST version first, then the insert. Lost Boy Fanfare overload!
I used the alternate Exit Music since it sounds richer.

Then comes the source music/songs section.

Mothers is the only big loss, it's one thing that I'm not a fan of the lyrics but her singing in it just puts me off completely.
Instead of it being one big block, I split Smee's Concertina Medley into 3 parts, 0:00-1:34 (with a faked ending with the help of some added reverb), 1:34-3:48 and 3:48-end, so fast pieces, slow pieces, fast pieces. I like how the track is assembled like this on the LLL but for this program I thought this would be more fun and varied.
I really appreciate Take Me Out to the Ball Game all being here as is, but for me it's a bit too long for what it is, so I got creative: 0:00-0:26 (one full "theme statement" ending with the bridging ending to transition it), 0:53-1:19 (one full "bridge section" with the bridging ending to transition it), then 1:46-end, overlapped with a reduced volume 1:19-1:46 (one more full "theme statement" with the finale, with the additional "bridge section with finale" to make it a bit richer.

And then finally my usual "alternates suite" where the orchestral score tracks went, I tried to represent as many themes as I could:

Hook Prologue
Banning Back Home (Film Version) (joined pretty closely, almost to keep up the rhythm)
The Stories Are True (main program version since I used the alternate in my main program)
The Never-Feast (0:57-end, the opening just felt more right this way, wanted to represent the insertless version even though I think the revision vastly improves its structure, then I just let it run because again it feels right for the next join)
The Face of Pan (choral version, hard overlapped with the end of the Never-Feast which works surprisingly well, I love this but I left the instrumental in the main program so that You Are the Pan can remain a step up from it)
The Arrival of Tink (Altenate) (1:55-end, the only different section is here)
The Flight to Neverland (Alternate) (0:21-end, in the main program I struggled to hard overlap these two cues as they are and gave up, but here I'm free to remove material from them and I found this perfect hard overlap point).
Pirate Sequence (Instrumental) (0:00-3:12 or so) (Not a huge fan of the ending of this without the chorus or brass so I took the perfect opportunity to transition here to...
The instrumental version of Pirate Sequence, starting with the vocal for the clean opening then using the main program version from there, I also "fixed" the tempo jump so it wouldn't be jarring after the song's consistent one, then for a cleaner join I overlapped the clean opening with the piano in Pirate Sequence so that this starts right away but the piano fades out gradually.
Farewell Neverland (Short Version - Alternate) (2:24-end, so only the last of the 3 cues)
Exit Music (main program version since I used the alternate in the main program, these two play together remarkably well leaving a gap about as long as between End Credits and Exit Music).

ThePenitentMan1 · January 15

Just gotten started on Hook!

Hook WIP.png

This was all I was able to cobble together so far in a single morning.

Also, I'm just gonna say, I'm going to 100% buy into the hype and not listen to any part of Disc 3, except for the vocal version of Show Us Your Hook. Once I finish this first version of the fanedit from just the first two discs, I'm going to make a work playlist from it to get myself super-duper familiar with the score. Then, once I'm as familiar with it as everyone else was prior to this album's release, then I'm going to listen to Disc 3.

The only alternates I'm going to put in this first version of the fanedit are the ones at the end of Disc 2. For now, that's plenty!

Since Hook Prologue's alternate was handled, funnily enough, in the same way I did my Star Wars Main Title alternates, I titled them in the same way, too: the final accepted take edit is the "Trailer Version" (equivalent to a film cue being a "Film Version"), while the edit with the unused ideas from the recording sessions is the "Alternate".

Show Us Your Hook (Vocal), I've edited so that the chanting stops just before the final bar, like it does in the film. That last bar actually duplicates one of the final "Hook!" chants, which is annoying—I'm glad to be rid of it. At some point I will study the Film Mix more closely so I can make a properly accurate version.

ThePenitentMan1 · January 15

On 17/09/2023 at 11:37 PM, ThePenitentMan1 said:

I removed the tracked-in bit from Prologue from Solar Surfer, and also incorporated a bit from the Film Version of the cue, where an electric guitar doubled up the strings playing the second part of the main theme (2:19 of the OST track "12 Years Later"). The unedited album version (but still without the Prologue edit) opens the bonus section.

Here's the bit from the film I'm talking about, by the way:

Once again, I've got an updated edit that I'm ready to share in full!

Holko · January 27

@TheAvengerButton, I think it's more appropriate if I do this here.

(64 minutes in all)

So, my goals here were to create a mostly chrono album that features all the important pieces with no repetition. Sometimes to keep pieces in I used them in places where the game uses a different one or nothing at all. Some of the game files are just edits of other cues, some are just the same piece looped with a different start and end point, so some "archaeology" had to be done to pick the "real" full original pieces to use. In many of them I removed the baked-in loops, but some I loved too much and left looped. I managed to use every unique piece apart from a handful of stingers I couldn't find good places for.

Ceylon, 1935 - Ceylon Amb2b + Ceylon Amb1c + Heroic Resolve2b

Starting with Amb2's opening and In the Jungle reprises was obvious, and Amb1c's opening overlaps well with its ending. Resolve2b is a nice heroic but somewhat lowkey "introduction" to Indy, accompanying maybe something like using his whip for the first time to swing over a chasm.

The Temple of Kourou Watu - Indy Ambient1 + Indy Ambient2 + Scary Event1 + Ceylon Temple2

Now that the Raiders March has been introduced at the end of the first track, it can weave through the exploration cues in this one. Scary Event stands in for some booby trap, after which the mood gets darker and more tense in Ceylon Temple.

Von Beck and the Crocodile - VonBeck Motif1 + Ceylon Crocodile

The nazi villain catches up with Indy and unleashes the giant crocodile guarding the treasure, the mood gets even more tense.

Jungle Escape - Indy Action1b (loops removed)

The game has no action scene here, but after so much exploration I thought the Ceylon section had to be capped off with an invented fight and escape. I love the Raiders B statement 2/3rds of the way through.

To Prague - Indy MapIndex1b + PragueTheme1e

I completely disregarded the in-game prerendered map sequences' music choices and just went with which one felt right where. This preppy happy one fits perfectly after the successful escape in the last track.

Exploring the Castle - Indy Motif1 + Prague Castle + Prague Dungeon1 + Indy Motif2

The opening calm Raiders statement represents Indy entering the castle, then comes a long search for clues and secret passages, and the triumphant Raiders at the end represents a puzzle being solved.

Nazi Agents - Indy Action2b (loops removed)

Indy is not alone in the castle, others are looking for the macguffin pieces too. This piece features both the nazi theme and the Raiders March (including in a completely unique lovely rendition near the end, so it fit really well for a mid-section successful fight.

Vega's Laboratory - Prague Dungeon2 + Prague Glider

Some more booby trap-dodging with a triumphant finale.

The Golem - Prague Lab (loops removed)

Self-explanatory, didn't add anything to its winding down ending since Indy's captured by the nazis at the end of the scene.

Captured / Mei Ying's Help - Splash Screen + IstanbulTheme + MeiYing Motif1 + Indy MapIndex3

This represents the map scene and cutscene for Indy being brought to Istanbul, then rescued by Mei Ying, the chinese villain's sexy undercover assistant. For the longest time I had no idea how to use the Splash Screen's slow nazi ostinato but it fits perfectly for a villanous map transition.

Istanbul Fight - Istanbul Action (loops not removed)

One of my favourite pieces in the score, for Indy mowing his way through swordsman goons.

The Sunken Temple of Belisarius - Istanbul Ambient + Istanbul Sunken

Some more tense exploration as Indy makes his way through the old Greek temple.

The Kraken - Istanbul Kraken

Not one of my favourite pieces or ingame setpieces but it's already fine as is.

To Hong Kong / The Opera - Indy MapIndex4 + HongKong Opera

I love the Mei Ying in the latter.

Hong Kong Chase - Chinese Ambient2 + KongTien Motif1 (slightly shortened final note) + KongTien Motif2 + KongTien Motif3 + Chinese Action2 (2)

So what's going on here? I discovered while listening that the separate short KongTiens make a really good partial KongTien theme when assembled closely together, 1 is its A phrase, 2 is its B phrase, 3 is a variation, so that's what I did as a transition from the uneasy mood to the rickshaw chase with Wu Han.

To Peng Lai Lagoon - Indy MapIndex2 + NaziTheme2

I used one for the more serious map pieces here, and a short nazi theme for the establishing piece... for the totally likely location of a nazi submarine base off the coast of mainland China.

Discovered - Nazi Action1c (loops removed)

The entrance is not exactly smooth, there's a fight almost immediately.

Infiltration - Indy Motif4 + Nazi Infiltration2 + Nazi Infiltration1

Indy is of course victorious and ever resourceful, so takes an officer's outfit to try not to seem suspicious. It seems to work out at first, but by the latter half of the track it gets harder and harder with some light comedic touches.

Full Alert - Nazi Action2b (loops not removed)

Indy is of course discovered and has to escape the base on full alert. This, the fullest rendition of the nazi theme, could be my favourite cue in the score, I remember pulling the alarm again and again to keep the fight and the music going!

Gondola Shootout -Indy Chase (loops removed)

Of course I also had to represent the memorable sequence when Indy's a sitting duck on a gondola on its way to the fortress with nothing but a machinegun and infinite fighter planes come to shoot him down.

The Back Dragon Fortress - Dragon motif1 + Chinese Ambient1 + KongTien Theme3b

The opening could be the most badass cue in the game and I love the tense oriental instrumentation in the middle.

The Feng Twins - Chinese Action1c

Since the piece incorporates Mei Ying's theme, it's very fitting for her rescue.

To the Emperor's Tomb - Heroic Resolve1 + MeiYing Motif2

A very calm Raiders standing in for a map scene as the heroes are seemingly at the final step of the journey, and a bit of Mei Ying's theme for their budding relationship.

Ancient Ruins - EvilTomb Ambient1c

Some exploration in the tomb.

Booby Traps - Supernatural1 + Eerie Event1 + EvilTomb Ambient2 + Supernatural2 + EerieEvent2

To be perfectly honest, I had all these cool stingers leftover and no perfect place to put them, so I just threw them in here to represent traps and puzzles in the tomb. The darker more tense choral Ambient fits well with this idea.

Terracotta Soldiers - Terracotta Action

Shit gets real, the spirits of the dead are possessing the famous terracotta soldiers and fight Indy. The chinese motif gets really grand renditions.

Von Beck's Return - VonBeck Motif2 + EvilTomb Action1b (cut off when it transitions to Istanbul Action) + Dragon Motif2

I had to represent the setpiece where the nazi villain chases Indy through corridors in a digger machine (when I was a kid it took frustrating days to get past this part - replaying it recently I did it on the first try), so I kind of cobbled this together from leftovers.

The Heart of the Dragon / Marshall Kai's End - FinalBattle Action1b (loops removed) + FinalBattle Action2d (loops removed) + Heroic Resolve3

Themes come together, pieces are reprised, the final showdown is here. After all that excitement, the title screen Raiders rendition finally appearing is a fitting payoff.

A Date with Mei Ying and Credits - MeiYingTheme3 + End Credits

A Marion-esque final full rendition of the love theme leads into the fantastically energetic March rendition for the credits.

ThePenitentMan1 · January 29

Ahh... I just love this thread...

On 27/01/2024 at 3:34 AM, Holko said:

I managed to use every unique piece apart from a handful of stingers I couldn't find good places for.

Which specific ones?

In the old edit I did, I put IndyDeath1 near the final boss, as it seemed the most fitting place for it. (My second choice for its placement would probably be the Von Beck tank chase. :^P)

Holko · January 29

6 minutes ago, ThePenitentMan1 said:

Which specific ones?

IndyDeath1, Scary Event2 and 3, and I didn't use any of the Ramp Downs but I think most are baked into the action pieces already.

ThePenitentMan1 · January 29

Yeah, none of the Ramp Downs are unique, I remember. Also, one of the cutscenes (the one where Indy comes back to Wu Han's boat with Mei Ying and the Mirror) includes a unique Raiders statement that isn't anywhere else (tied to IndyMotif3).

JTN · January 29

Wow, @ThePenitentMan1and @Holko hats off to both of you. I’m neither talented enough nor brave (or bold) enough to ever try to do fan edits like yours, but wow, the knowledge of the scores and the technical aspect it takes to do such a thing is commendable. You seem to be on the level of a sound engineer.

ThePenitentMan1 · January 29

7 minutes ago, JTW said:

Wow, @ThePenitentMan1and @Holko hats off to both of you. I’m neither talented enough nor brave (or bold) enough to ever try to do fan edits like yours, but wow, the knowledge of the scores and the technical aspect it takes to do such a thing is commendable. You seem to be on the level of a sound engineer.

If it weren't for the fact that I couldn't mix a track from scratch even if my very life depended on it, I probably would be on that level. :^P

Holko · January 29

16 minutes ago, JTW said:

You seem to be on the level of a sound engineer.

Hahaha music editor at best but thanks! The closest I ever got to mixing and mastering has been some slight EQing in particularly egregious cases like bringing down the brightness of Tradition from Fiddler on the Roof or punching it up in some tracks in Occhio Alla Penna.

crocodile · January 29

That looks amazing @Holko.

Karol

ThePenitentMan1 · February 2

@Holko, Just finished making my new Emperor's Tomb edit based on yours:

Indy Emperor's Tomb.png

I had to guess with many of the overlaps, and some of the track times drift away from yours, but overall I like it like this. Every decision of yours that I kept (I.E. nearly all of them) works perfectly! So much so, that finding spots for the missing bits proved more difficult than I'd first suspected. This is the first edit of yours I've tried to recreate for myself, and I must say, I'm impressed! You really know what you're doing!

Here's what I've changed as of right now:

On 27/01/2024 at 3:34 AM, Holko said:

Vega's Laboratory - Prague Dungeon2 + Prague Glider

Some more booby trap-dodging with a triumphant finale.

Vega's Tower - Prague Dungeon2 + ScaryEvent3

Since ScaryEvent3 is a stinger that's based on PragueLab, my first thought was to put it somewhere during the Prague sequence, as a sort of "foreshadowing" for that fight. But since it would kinda ruin the mostly mellow mood of Exploring The Castle, and IndyAction2 into Prague Dungeon2 works wonderfully as-is, I ultimately decided to put it at the end of Vega's Tower instead, as a segue (if a rather on-the-nose one) into the PragueLab fight.

I didn't use PragueGlider, since it's just an edit of IndyMapIndex4 and IndyMotif3, both of which get used elsewhere in the edit.

On 27/01/2024 at 3:34 AM, Holko said:

Istanbul Fight - Istanbul Action (loops not removed)

One of my favourite pieces in the score, for Indy mowing his way through swordsman goons.

The Sunken Temple of Belisarius - Istanbul Ambient + Istanbul Sunken

Some more tense exploration as Indy makes his way through the old Greek temple.

I've recreated these two tracks, but I'm also playing around with different assemblies of these cues:

Istanbul Breakout/The Palace Of Belisarius - Istanbul Action (loops and tracking removed) + Istanbul Ambient

After a brief skirmish with the Turkish Grunts guarding his cell, Indy sneaks around and retrieves his gear before entering the part of the palace that's still above water. I like Istanbul Action as much as the next guy, but it's a very short piece by its very nature, and I can't unhear the crossfades to EvilTomb Action1b, so out that goes in this version of the track; Istanbul Ambient cocktails with the recorded bit of Istanbul Action nicely.

The Sunken Temple - Istanbul Sunken

Indy descends into the sunken depths of the palace temple, where he finds a massive statue of Poseidon. Istanbul Sunken is used here, separate from Istanbul Ambient. The two cues are distinct enough from each other that I feel they can work separately from each other just as well as they can together.

On 27/01/2024 at 3:34 AM, Holko said:

To the Emperor's Tomb - Heroic Resolve1 + MeiYing Motif2

A very calm Raiders standing in for a map scene as the heroes are seemingly at the final step of the journey, and a bit of Mei Ying's theme for their budding relationship.

To the Emperor's Tomb - IndyMotif3 + M08_4 + Heroic Resolve1 + MeiYing Motif2

I replaced the opening of M08_4 with the clean version of IndyMotif3 to remove the sound effects that covered that part of the track, then extended M08_4's sustained string ending and overlapped it with Heroic Resolve1 and did the rest of the assembly following the instructions.

On 27/01/2024 at 3:34 AM, Holko said:

Von Beck's Return - VonBeck Motif2 + EvilTomb Action1b (cut off when it transitions to Istanbul Action) + Dragon Motif2

I had to represent the setpiece where the nazi villain chases Indy through corridors in a digger machine (when I was a kid it took frustrating days to get past this part - replaying it recently I did it on the first try), so I kind of cobbled this together from leftovers.

Von Beck's Return - ScaryEvent2 + VonBeck Motif2 + EvilTomb Action1b + Dragon Motif2

VonBeck Motif2... feels kinda incomplete to me, like it needs to have something leading up into it for it to work its best. ScaryEvent2 accomplishes that task very well.

I didn't remove the part of EvilTomb Action1b that was tracked into Istanbul Action; I don't believe the track suffers from its inclusion.

On 27/01/2024 at 3:34 AM, Holko said:

The Heart of the Dragon / Marshall Kai's End - FinalBattle Action1b (loops removed) + FinalBattle Action2d (loops removed) + Heroic Resolve3

Themes come together, pieces are reprised, the final showdown is here. After all that excitement, the title screen Raiders rendition finally appearing is a fitting payoff.

The Heart of the Dragon / Marshall Kai's End - Indy Death1 + FinalBattle Action1b (loops removed) + FinalBattle Action2d (loops removed) + Heroic Resolve3

Indy Death1 is used as a big, scary intro, to show just how much of a threat Marshall Kai has become now that he has the Dragon's Heart. The sustained strings at the end of Indy Death1 overlap nicely with the percussion roll opening of FinalBattle Action1b.

So... Yeah. That's it. Like I said before, everything else works perfectly.

What Is The Last Score Fanedit You Worked On?

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