What Is The Last Score Fanedit You Worked On?

[Holko 9,614]

12 minutes ago, ThePenitentMan1 said:

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.

That's really good, I'll switch to that!

[ThePenitentMan1 795]

17 hours ago, ThePenitentMan1 said:

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.

 

17 hours ago, ThePenitentMan1 said:

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.

 

And now I've completely rethought ScaryEvent2's place in the score!

 

Istanbul Breakout/The Palace Of Belisarius - Istanbul Action (loops and tracking removed) + Istanbul Ambient + ScaryEvent2

 

The Sunken Palace Of Belisarius - Istanbul Ambient + ScaryEvent2 + Istanbul Sunken

 

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

 

 

Von Beck's Return...  returns to its original form.  ScaryEvent2's new home is its most prominent in-game usage: Indy getting forcibly dropped into the sunken ruins in Istanbul!  It works so much better like this!

 

EDIT: More refining!

 

Istanbul Breakout (Long Version) - Istanbul Action (loops and tracking not removed)

 

Istanbul Breakout (Short Version) - Istanbul Action (loops and tracking removed)

 

The Sunken Palace Of Belisarius - Istanbul Ambient + Istanbul Sunken + ScaryEvent2

 

I caved and kept Istanbul Action's edited extended form.  I'm probably going to continue going back-and-forth on it, so I've got the short version rendered out as well and labeled "(Short Version)".

 

ScaryEvent2 now caps off the sunken palace sequence (now representing knocking over the Poseidon statue), segueing beautifully into the Kraken fight.

[Holko 9,614]

Okay, followed your ideas for the revisions - ScaryEvent3 replaces Glider in Vega, ScaryEvent2 ends Belisarius, and I put IndyDeath at the end of Golem to represent Indy getting knocked out and captured by Von Beck.

[ThePenitentMan1 795]

On 3/2/2024 at 6:18 AM, Holko said:

Okay, followed your ideas for the revisions - ScaryEvent3 replaces Glider in Vega, ScaryEvent2 ends Belisarius, and I put IndyDeath at the end of Golem to represent Indy getting knocked out and captured by Von Beck.

 

Sweet!  For mine I wound up putting together a little bonus section, where I put the short version of Full Alarm and the long version of Istanbul Breakout.  And since I was making a bonus section anyway, it seemed like a better spot for IndyDeath than the final boss, so I took it off of that and made it its own track in the bonus section.

 

 

I put IndyDeath just after the short Full Alert, as if it were a short fight with Nazis that Indy had lost quickly (I still have PTSD from that Nazi alarm sounding off; it nearly always meant I was about to see the continue screen again).  Then the long version of Istanbul Breakout, and then I have two discrete tracks for MeiYingTheme3 and End Credits capping off the bonus section.

[ThePenitentMan1 795]

Alien (1979) by Jerry Goldsmith

 

 

 

I chose to handle The Skeleton a little differently than the CD.  The Original version presented here is the final accepted take found in the main program, but combined with the original ending found in the first recorded take.  The version labeled "Rescore, W/ Alt. End" is the Album track The Alien Planet, which is the Rescored version of The Skeleton with the dramatic crescendo from the original accepted take applied to it.  The reason I did this is because I didn't want to have four versions of this one cue in the edit, and excluding the CD's main program version allowed me to showcase the progression of the composition from its originally-written concept (minus the performance errors found in the actual first take) all the way to its most-altered form found on the OST.

 

The generically-titled Hanging On is renamed to Acid Test.  The rescored version segues into the final few bars of the original, as indicated in the liner notes as being Jerry's intention for the cue.

 

I have applied the performance inserts for It's A Droid.  Comparing the two, you can really tell why these inserts were recorded; the cue sounds so much better with them applied!  (with the exception of the slightly crusty sound quality of the first insert's crescendo; that bit doesn't get used in this edit)

 

While I did make an edit that extends the Film Version of the Main Title out to its originally-recorded length, and I'm really happy with the quality of the edit, I ultimately decided not to use it; it just felt way too redundant with the only meaningful change from the original rescore being a quiet and seemingly random percussion overdub on top.

 

-

 

In my main playlist, the original versions of every cue except The Skeleton (this is to have the dramatic climax in the main program, while also allowing comparison of the two versions that have the quieter ending) and It's A Droid (because of the superior performance inserts) are used in the main program.  In addition to an "Original Cues" playlist where the original versions of The Skeleton and It's A Droid are reinstated, I also have a playlist where I swap out the CD's main program versions with the score's tasteful revised cues.

 

The original versions of Main Title and Hyper Sleep are used in this playlist.  Taking the hero theme out of both of these introductory cues is like taking the bassline out of a song; it might sound okay to the untrained ear, but you ruin the musical foundation of the whole thing when you do that!

 

The original version of The Cupboard is also used here.  The original brings images of the film's alien to mind.  The rescore (at 1:30 in particular) makes me think of Mrs. Brisby escaping the Fitzgibbons' house while Dragon's asleep.

Since the rescored versions of The Skeleton and Out The Door were used on the OST, I assume Jerry was OK with them.  I used the raw rescore of The Skeleton with the quieter ending just to be different from the main playlist.  I love the rescored Out The Door's heroic climax!

 

Acid Test, I initially had as the rescored version, but upon listening to both, I remembered I actually prefer the original.

Finally, I have the rescored version of The Terrain in the program, since the change there isn't obtrusive by any stretch of the imagination.  It's A Droid is the version with the performance inserts applied.

[Tallguy 3,534]

Funny, I was just listening to this this week. I have THREE configurations of this score in my library. One is the Intrada and one is a straight reconstruction of "as heard in the film". I think the third is a mish mash.

 

This is a hard score for me to pick the "best" way to listen to. I'm not especially tied to much in the way of "But that's the way I'm used to hearing it in the film!" There aren't many of the creepier or more action oriented pieces that I know that well in the film. (And I've seen the film a LOT.) I don't need any of the Freud cues. It's kind of like Blade Runner for me. There are five or six really melodic pieces and the rest is just serving the film and I don't listen to them separately.

 

I'm 50/50 on "original opening" or "film opening". They're both great? But (and this is a tad sacrilegious and I'm sure it breaks Jerry's heart) I need to end this score with Howard Hanson. That's just the way it is.

 

Maybe I should take some time and really dig into what's in the film and what's not. Or even figure out what versions I actually like to listen to the most.

[ThePenitentMan1 795]

4 hours ago, Tallguy said:

Funny, I was just listening to this this week. I have THREE configurations of this score in my library. One is the Intrada and one is a straight reconstruction of "as heard in the film". I think the third is a mish mash.

 

This is a hard score for me to pick the "best" way to listen to. I'm not especially tied to much in the way of "But that's the way I'm used to hearing it in the film!" There aren't many of the creepier or more action oriented pieces that I know that well in the film. (And I've seen the film a LOT.) I don't need any of the Freud cues. It's kind of like Blade Runner for me. There are five or six really melodic pieces and the rest is just serving the film and I don't listen to them separately.

 

I'm 50/50 on "original opening" or "film opening". They're both great? But (and this is a tad sacrilegious and I'm sure it breaks Jerry's heart) I need to end this score with Howard Hanson. That's just the way it is.

 

Maybe I should take some time and really dig into what's in the film and what's not. Or even figure out what versions I actually like to listen to the most.

 

I actually just made a quasi-film playlist for this score as well:

 

...Mainly to have a playlist where the rescored Main Title, Hyper Sleep, Acid Test, and Cupboard can play in context.  The alternates chosen are the ones used in the film, but otherwise the score here follows the originally intended sequence.  Like yours, no Freud whatsoever.

 

I do find it kinda funny how the original version of The Skeleton had the high woodwinds and the quiet ending, and, after having been revised twice, what the film wound up using was pretty much identical to that first take, content-wise.

This score was actually my second Goldsmith.  I first got into it shopping around on Intrada, and, seeing it was an in-print, complete Jerry Goldsmith score at a time where my only regular Goldsmith was NIMH, I couldn't resist.  So because of that, I'm not really concerned with the way the music is presented in the film the way I would be for other films.

 

I might have to give the Hansen a fair listen, though.  My dad knows the story about there being two versions of the Alien end title, and that the Hansen was one of them. (He prefers the Hansen)

 

I'm sure someone on this forum knows the exact recording that was used in the film?

[Holko 9,614]

My Alien main program is quite simple, just the Intrada main program with Terrain, Craft, Passage, Skeleton and New Face joined into one for better flow, barely overlapped, and Out the Door switched out for the revision for that sweet Shaft-esque alien theme reprise as a climactic culmination instead of the original's more out there variation.

 

Then I just have my usual assembly of the remaining interesting material:

• Main Title (Alternate)
• Hanging On (Alternate) overlapping its ending fadeout
• It's a Droid (plus inserts), with its opening loud note and continued tenstion acting as the payoff to Hanging On's buildup
• The Terrain (Alternate) for a little break after that middle action
• The Skeleton (Alternate), first note overlapping with last
• The Cupboard (Alternate)
• Out the Door with its very last notes removed
• Hyper Sleep (Alternate) to extend this soft ending a bit
• Those last notes of Out the Door to cap it off satisfyingly

[ThePenitentMan1 795]

4 hours ago, ThePenitentMan1 said:

I'm sure someone on this forum knows the exact recording that was used in the film?

 

And there we go!

 

To buy:

https://crqeditions.bandcamp.com/track/track-1-howard-hanson-symphony-no-2-romantic-movt-1-allegro-moderato

 

To listen:

 

EDIT: Current Film Cues playlist:

[ThePenitentMan1 795]

9 hours ago, ThePenitentMan1 said:

Alien (1979) by Jerry Goldsmith

 

 

 

 

I chose to handle The Skeleton a little differently than the CD.  The Original version presented here is the final accepted take found in the main program, but combined with the original ending found in the first recorded take.  The version labeled "Rescore, W/ Alt. End" is the Album track The Alien Planet, which is the Rescored version of The Skeleton with the dramatic crescendo from the original accepted take applied to it.  The reason I did this is because I didn't want to have four versions of this one cue in the edit, and excluding the CD's main program version allowed me to showcase the progression of the composition from its originally-written concept (minus the performance errors found in the actual first take) all the way to its most-altered form found on the OST.

 

The generically-titled Hanging On is renamed to Acid Test.  The rescored version segues into the final few bars of the original, as indicated in the liner notes as being Jerry's intention for the cue.

 

I have applied the performance inserts for It's A Droid.  Comparing the two, you can really tell why these inserts were recorded; the cue sounds so much better with them applied!  (with the exception of the slightly crusty sound quality of the first insert's crescendo; that bit doesn't get used in this edit)

 

While I did make an edit that extends the Film Version of the Main Title out to its originally-recorded length, and I'm really happy with the quality of the edit, I ultimately decided not to use it; it just felt way too redundant with the only meaningful change from the original rescore being a quiet and seemingly random percussion overdub on top.

 

-

 

In my main playlist, the original versions of every cue except The Skeleton (this is to have the dramatic climax in the main program, while also allowing comparison of the two versions that have the quieter ending) and It's A Droid (because of the superior performance inserts) are used in the main program.  In addition to an "Original Cues" playlist where the original versions of The Skeleton and It's A Droid reinstated, I also have a playlist where I swap out the CD's main program versions with the score's tasteful revised cues.

 

The original versions of Main Title and Hyper Sleep are used in this playlist.  Taking the hero theme out of these two introductory cues is like taking the bassline out of a song; it might sound okay to the untrained ear, but you ruin the musical foundation of the whole thing when you do that!

 

The original version of The Cupboard is also used here.  The original brings images of the film's alien to mind.  The rescore (at 1:30 in particular) makes me think of Mrs. Brisby escaping the Fitzgibbons' house while Dragon's asleep.

Since the rescored versions of The Skeleton and Out The Door were used on the OST, I assume Jerry was OK with them.  I used the raw rescore of The Skeleton with the quieter ending just to be different from the main playlist.  I love the rescored Out The Door's heroic climax!

 

Acid Test, I initially had as the rescored version, but upon listening to both, I remembered I actually prefer the original.

Finally, I have the rescored version of The Terrain in the program, since the change there isn't obtrusive by any stretch of the imagination.  It's A Droid is the version with the performance inserts applied.

 

Here's that extended film version of the Main Title I mentioned here:

 

[ThePenitentMan1 795]

Raiders Of The Lost Ark

 

 

Mostly uses the DCC, with a few exceptions.

 

The sustained string ending of The Cave is extended to match the film.

 

The Map Room At Dawn uses the Polydor OST version (Speed-corrected, of course!) for the album's better mixing of the choirs.  The Polydor is used instead of the Concord for the dynamic rage that matches the DCC better.

 

While I tried to avoid using the Concord as much as possible if I could help it, The German Sub-The Miracle Of The Ark needed to be kept as the Concord, as the DCC had between-track cue overlaps all over the place for those cues.

 

Four versions of the Raiders March are present in my fanedit: End Credits [full, uncut cue], The Raiders March [The OST edit without the coda], The Raiders March Overture [The DCC Edit with the Coda], and The Raiders March (Concert Version) [with Marion's Theme, sans coda].  All using the DCC, though the longer versions cut to the speed-corrected Polydor track to remove the tracked portion from later in the cue.

 

Escaping The Pit (Fix Insert) is placed at the beginning of the Alternates section, to better segue into The Rolling Ball (Original).  In a way, it kinda represents The Cave when programmed like this.

 

-----

 

Hayden Jonas' mockup of 2m1 - Belloq is incorporated into the fanedit.  Unlike with TWOK's unrecorded 2m1, Raiders' unrecorded 2m1 slots perfectly into the main score presentation, so I put it there instead of the Alternates section.

 

-----

The alternate ending for 6m1 - Don't Touch That was teased in the Raiders Live-To-Projection thread, but since an actual mockup from the sheets never happened, I made a substitute for my own personal listening.  I based this on the context clues from the thread, that it was a "dark, militaristic take on the Ark theme" that lasts roughly "four bars" and "ends on an F#":

 

 

It sounds terrible, but it'll do for now.

 

-----

 

And finally, Indy In Pursuit/Truck Chase/Indy's Feats (Album Take)!  [Or, Desert Chase (Extended Album Version), if you will]  I went ahead and checked the entire track for anything that sounded legitimately different from the DCC version.  That turns out to be a few alternate take portions at the very beginning of Indy In Pursuit, a bigger orchestra hit at the end of Indy In Pursuit that transitions into Truck Chase, and the entirety of Indy's Feats.

 

This track uses the DCC Album as a base, cutting to the Polydor OST version for each of the above mentioned changes and cutting back before it got to any of the dreaded album edits.  There was a bit in Indy's Feats (5:57-6:01) that needed to cut away to a tempo-adjusted version of the DCC take, but 6:13-6:18 was actually looped using only the existing bits of the album take.

 

 

The first time I listened to this edit outside of Audacity, I was actually surprised when the bits that had originally been edited out played through without interruption.  It was like my subconscious was so used to hearing the edits whenever it heard this version of Desert Chase that it was surprised that time when it didn't happen.  This is just so perfect!

[Holko 9,614]

 

So since I finetuned some of this recently anyway, why not just do a breakdown?

I'm not a huge fan of some of Kamen, but unfortunately based on what I tried so far that "some" isn't "these scores" but "half of every score". But I like the other half of this one too much so I refocused it onto the action and repaced it, using the 3 disc LLL as a base of course, lining up every version of every cue to choose the best ones or combine/microedit them, removing sections I didn't like/I thought were bogging it down etc.

 

 01 - Main Title - 1/08 Approaching the Vault (slightly shortened ending) + sleighbell percussion loop from 3/10 Under the Table (His Bag is Missing (Film Edit) + 1/01 Main Title. Okay so what I actually did here was take Main Title, extend its sleighbell loop opening a lot with the useful long clean version included in Under the Table's film edit, then I wanted to join it to the string piece so that the extended loop starts slowly fading in with the last held note as it also increases in volume, and Main Title starts exactly when the final note ends, with the full volume loop taking over satisfyingly. But the held note didn't have the correct length for that so I shortened it a bit so that just the right amount of loops fit exactly into it. This is still one of my favourite assemblies ever, using this solo low string 9th as kind of an overture.

 02 - Seeing Holly - 3/02 Seeing Holly (Film Mix)

 03 - Terrorist Entrance - 1/03 Terrorist Entrance, with the silly section at 0:54-1:01 removed, the space between the 3rd and 4th brass note at 3:08 cut in half to give it more of a groove, and the silence from 3:10-3:14 removed.

 04 - The Phone Goes Dead / Party Crashers - 1/04 The Phone Goes Dead / Party Crashers

 05 - John's Escape / You Want Money - 1/05 John's Escape / You Want Money with the silence at 0:18-0:20 shortened, and 1:35-1:55, 2:26-3:08, 4:05-end removed since the track dragged a lot.

 06 - Tony Approaches - 3/06 Tony Approaches (Film Mix) 0:00-0:08 + 2/14 Tony Approaches (Alternate) 0:08-1:04 + 1/11 Tony and John Fight

 07 - Al Powell - 1/16 Have a Few Laughs / Al Powell Approaches with 0:00-0:53 removed.

 08 - Under the Table - 3/10 Under the Table (His Bag is Missing) (Film Edit) 0:00-1:17 + 1/17 Under the Table - I love this sleighbell loop, thought this was a tension cue worth extending.

 09 - Yippie Ki-Yay - 1/19 Yippie Ki-Yay

 10 - Assault on the Tower - 1/21 Assault on the Tower with 1:49-2:08 removed with a seamless transition, the silence at 4:53-4:54 and the silence at 6:11-6:12 shortened since the track was a bit choppy.

 11 - Attention Police - 2/17 Attention Police (Pick-up Opening)

 12 - John is Found Out - 3/11 John is Found Out (Film Mix) 0:00-2:50

 13 - Shoot the Glass - 1/25 Shoot the Glass with 1:56-2:14 removed.

 14 - I Had an Accident - 1/26 I Had an Accident (Extended version)

 15 - Packing Up - 2/18 The Vault (Alternate) 1:45-end. I moved it here to space out the two downer tracks with a "cutaway" and because I felt it was a little too much at the end of The Vault after we already had an extended fadeout with the same ostinato.

 16 - John's Despair - 2/21 Message for Holly (Revised Version) - I thought this version was more bleak and fit here better as the low point.

 17 - The Vault - 2/01 The Vault (Film Edit) 0:00-1:15 + 2/18 The Vault (Alternate) 0:48-1:18 + 2/01 The Vault (Film Edit) 1:41-2:09.  This was tricky, I like the first part of the film version but I don't like the inconsistent tempo and synth choir in the second part so I grabbed that section from the alternate which I like a lot, but for the ending the alternate sucks so I had to go back to the film version. Phrases had to be carefully crossfaded to make the transitions smooth, since the alternate doesn't have the synth twinkle that's still fading out when the section starts in the film version, and the endings have different instrumentation including a loud cymbal crash fading out for a time in the alternate.

 18 - Message for Holly - 3/15 Message for Holly (Original Version) (Orchestra Only) - This version has more of a determined "fuck it let's go" ending so it fit better here before the Battle. Also to hell with that synth guitar.

 19 - The Battle / Freeing the Hostages - 2/04 The Battle / Freeing the Hostages with 0:58-1:14 seamlessly removed, the cues seamlessly joined from 3:02 to 3:07 to remove the long silence between them, and 4:18-4:25 removed.

 20 - The Showdown - 2/06 The Helicopter Explosion And Showdown 0:38-end

 21 - Happy Trails, Hans - 2/07 Happy Trails, Hans 0:00-1:00 + one cycle of the sleighbell percussion loop from 3/10 Under the Table (His Bag is Missing (Film Edit) + 2/22 Happy Trails, Hans (Tracked Film Edit) 0:00-0:54, with the gap at 0:45-0:46 also shortened a little bit to fit the rhythm better + 2/07 Happy Trails, Hans 1:00-end. So uh, I like the Kamen cue, but I think the film edit is too iconic and has much more tension and a great release. So I just combined the two, the sleighbell is only there to start the loop earlier and help bridge that transition.

 22 - We've Got Each Other - 2/23 We've Got Each Other - Hey, listen, I think the tracked cues work perfectly to achieve the finale that the score proper is lacking, a fakeout happy ending, a sudden action and triumphant finale, and then a real happy ending. The only problem is they should've fucking told Kamen they wanted this.

 23 - Powell's Comeback - 2/24 Resolution and Hyperspace (Excerpt) 0:00-0:58 + 2:08 Powell's Comeback 1:26-end

 24 - Let It Snow - 2:09 Let It Snow

 25 - Roy Rogers Meets Beethoven's 9th - 2:26 Roy Rogers Meets Beethoven's 9th - The film/main program uses an awful sounding 9th recording so this is a really fun replacement and playoff.

[ThePenitentMan1 795]

I never posted my completed Hook, so here it is:

 

 

So first off, I removed all three of the final film's songs (We Don't Wanna Grow Up, Pick 'Em Up, and When You're Alone), opting instead to put them in an as-of-yet unfinished "Hook: The Musical" playlist.

1m1 - Piano Intro/Peter's Entrance is 0:00-1:47 of We Don't Wanna Grow Up (Extended), while 1:47-end is split off as 1m3 - We Don't Wanna Grow Up.  Getting a clean ending for Peter's Entrance through phase inversion turned out to be impossible, so I used 1:17-1:21 of the track to fake the ending.

 

 

The Never-Band takes Pick 'Em Up's spot.

 

For the alternates, I made sure to follow the booklet to correctly label each version of the cue.  For the cues where the booklet didn't clarify which version was the original (I.E. Arrival of Tinkerbell and Hook's Entrance), I listened closely to the two versions to try to hear evidence of any crossfade or surplus reverb from an insert; as it turns out, the main program versions of both cues sounded more like they were the ones that had the inserts applied. (If I'm wrong, please correct me on this!)

 

I wound up splitting off Arrival At Neverland and Slicing The Hand into their own tracks, but kept I'll Take Those Shoes and Show Us Your Hook combined.  This allows me to easily take Slicing The Hand off of playlists where I don't want it in the program.

 

Show Us Your Hook (Revised) is the version without vocals, Show Us Your Hook (Original) is ragoz350's mockup of the unrecorded cue.  Much as I love the vocal version...  I'm not really sure what I want to do with it anymore...

 

The most useful thing about the inclusion of the Album version of From Mermaids To Lost Boys, to me, was that it gave me the ability to cleanly split Mermaids of off To Neverland (which I renamed "The Treehouse" for clarity).

 

 

 

I hated the sloppy transition between the cues in the film, and the album combo didn't completely fix the issue; keeping the cues separate was the ideal solution for me.  And yes, I know now that the session leak had the clean split for these two cues as well, but since I didn't have that leak when I did the split, and the leak didn't really sound any cleaner than the phasing trick I did, I'm just gonna keep the edit as-is.

 

Right now, I have Enter Rufio and Lost Boy Chase combined, since they overlap well together, but I'd probably just as easily separate them again.

 

 

Take Me Out To The Ball Game is placed between Stop That Clock and Home Run.

 

Home Run and Follow That Shadow are separated.  Follow That Shadow uses the session leak for the clean opening, but unfortunately, Home Run seems to be an incorrect take in the Session Leak, so getting the clean ending for the correct take required phase inversion of the LLL 3CD tracks. (Which...  sounds a little shimmery, but all in all not that bad...)

 

 

Using the session leak, I split off Form Ranks from the Ultimate War assembly, and instead combined it with Daddy Is Peter Pan/The Death Of Rufio (just callled The Death Of Rufio on the LLL 3CD).  Not only was the listening experience nicer like this, it also led to less padding in the Alternates Section.  I suppose a closer transition from Crossed Swords to Form Ranks would work as well, but then I'd wind up with really long tracks, which...  isn't really my preference, at least on my home PC.

 

Kensington Gardens is split off of My Lost Boys/Next Morning, for pretty much the same reason as To War/Crossed Swords before it.  The Disc 3 track is used for the opening of Kensington Gardens; the Session Leak is used for the clean ending of Next Morning.

 

And finally, I took the tracked Lost Boy Chase off of the End Credits using the Session Leak.

[Jay 37,520]

On 06/04/2024 at 8:50 AM, ThePenitentMan1 said:

For the cues where the booklet didn't clarify which version was the original (I.E. Arrival of Tinkerbell and Hook's Entrance), I listened closely to the two versions to try to hear evidence of any crossfade or surplus reverb from an insert; as it turns out, the main program versions of both cues sounded more like they were the ones that had the inserts applied. (If I'm wrong, please correct me on this!)

 

The Arrival of Tink was actually the first cue recorded for the picture (after the pre-records and trailer cue).  It was initially recorded as originally written, which had Tink's theme played at a high octave giving it a more ethereal quality.  A few days later, they came back and did pick-up takes that started with deeper and more resonant arpeggios that lead into Tink’s theme on celesta now being performed at a lower octave.

 

The final performance edit that went into the picture (and original soundtrack album) uses take 122 (from day 1) for the beginning and end, with the lower-octave Tink's theme (but NOT the lower intro part) taken from take 202 (from a few days later) in the middle.

 

For the new bonus track, Mike wanted to showcase both unused bits: the newer intro from the pick-up recording, and the original celeste section from the original recording.  So he made a new performance edit that begins and ends with take 122 as normal, but now the middle has the pick-up intro (from take 201) and the original lower-octave celeste section (from take 123) in the middle.

 

 

For Hook's Entrance, there is no early or later versions, just a bunch of different takes recorded back to back to back on the same day.  For takes 295 and 296 they recorded the full cue as originally written, with the fanfare.  Take 297 was another take of the entire cue, but now with the fanfare taceted out.  Take 298 is a pickup take starting with the harp glissando as Hook begins to walk down the stairs.  Both tracks on the LLL CD use all 4 of these takes, including the harp glissandro from take 298 in both tracks.  The only difference between the tracks  is the section for the stairs unveiling, which uses the fanfare version in the main program and the tacet version in the disc 3 version.

 

Basically you can extrapolate from this that Spielberg thought the unveiling of the "red carpet" stairs was overscored, so first had him tacet out the fanfare, then made sure to record an option to resume the music once his foot hits the top step if he decided to dial out the music entirely.  And that's what he does in the final cut of the film, the music dials out right after the first phrase of Low Below for all of Dustin's monologue, and only comes back in with that harp glissando from the pick-up take as begins to put his foot down on the top of the stairs.

[Faleel 5,447]

On 06/04/2024 at 8:50 AM, ThePenitentMan1 said:

And finally, I took the tracked Lost Boy Chase off of the End Credits using the Session Leak.

Is it possible to isolate the transition insert?

[ThePenitentMan1 795]

10 hours ago, Jay said:

 

The Arrival of Tink was actually the first cue recorded for the picture (after the pre-records and trailer cue).  It was initially recorded as originally written, which had Tink's theme played at a high octave giving it a more ethereal quality.  A few days later, they came back and did pick-up takes that started with deeper and more resonant arpeggios that lead into Tink’s theme on celesta now being performed at a lower octave.

 

The final performance edit that went into the picture (and original soundtrack album) uses take 122 (from day 1) for the beginning and end, with the lower-octave Tink's theme (but NOT the lower intro part) taken from take 202 (from a few days later) in the middle.

 

For the new bonus track, Mike wanted to showcase both unused bits: the newer intro from the pick-up recording, and the original celeste section from the original recording.  So he made a new performance edit that begins and ends with take 122 as normal, but now the middle has the pick-up intro (from take 201) and the original higher-octave celeste section (from take 123) in the middle.

 

Ah, I see.  Thanks for the info!

 

I can't begrudge Mike for sticking with the film's final performance edit in the Disc 1 track, as it makes sense to do so in this case.

 

That said, I have to admit, I would've preferred to have one track with the full intact insert, and one track with the full original composition.  That way, the original recording is presented uninterrupted, the full insert is applied as originally intended, and the film version can still be recreated using both tracks if desired.

 

Fortunately, the session leak seems to have the full unedited Take 122, and the intro of the insert seems to be slow enough to discreetly cut it back to the Disc 1 version...  I'll just make a couple of new edits here...

 

Original:

 

 

This only uses the session leak from 0:02-0:16, using sample-perfect edits to restore the original section of this take to the way it was recorded.  The LLL's later cut to Take 123 is preserved.

 

W/ Insert:

 

 

This cuts from the Disc 3 track to the Disc 1 track at 0:17.  While I do wonder if they would've used Take 202's intro, had they decided to have the Insert's intro play in the Disc 1 track instead, I think this edit sounds great as-is, and I'm perfectly content with it.

 

10 hours ago, Jay said:

For Hook's Entrance, there is no early or later versions, just a bunch of different takes recorded back to back to back on the same day.  For takes 295 and 296 they recorded the full cue as originally written, with the fanfare.  Take 297 was another take of the entire cue, but now with the fanfare taceted out.  Take 298 is a pickup take starting with the harp glissando as Hook begins to walk down the stairs.  Both tracks on the LLL CD use all 4 of these takes, including the harp glissandro from take 298 in both tracks.  The only difference between the tracks  is the section for the stairs unveiling, which uses the fanfare version in the main program and the tacet version in the disc 3 version.

 

Basically you can extrapolate from this that Spielberg thought the unveiling of the "red carpet" stairs was overscored, so first had him tacet out the fanfare, then made sure to record an option to resume the music once his foot hits the top step if he decided to dial out the music entirely.  And that's what he does in the final cut of the film, the music dials out right after the first phrase of Low Below for all of Dustin's monologue, and only comes back in with that harp glissando from the pick-up take as begins to put his foot down on the top of the stairs.

 

In that case, it sounds like the main program version is the one to apply the (Original) tag to, as it uses Williams' full original idea for the cue.  I'll restore the (Alternate) label for the Disc 3 version.

 

10 hours ago, Faleel said:

Is it possible to isolate the transition insert?

 

Transition insert?  Would this be at the beginning of the Lost Boy Chase section, or at the end?

[Faleel 5,447]

7 minutes ago, ThePenitentMan1 said:

Transition insert?  Would this be at the beginning of the Lost Boy Chase section, or at the end?

The end I believe.

[ThePenitentMan1 795]

1 hour ago, Faleel said:

The end I believe.

 

The end of the Lost Boys section of the End Credits is already mostly clean, albeit not for very long.  The session leak's Exit Music, though it's definitely the same take, can't phase the Exit Music out of the end of the Lost Boy Chase.

[Jay 37,520]

3 hours ago, ThePenitentMan1 said:

Transition insert?  Would this be at the beginning of the Lost Boy Chase section, or at the end?

 

A single timpani hit is used in the film (and LLL end credits track) to transition from the end of the "Lost Boys Chase" segment into the "Exit Music" piece.

 

2 hours ago, ThePenitentMan1 said:

The session leak's Exit Music, though it's definitely the same take, can't phase the Exit Music out of the end of the Lost Boy Chase.

 

"Exit Music" in the main program is a performance edit using takes 388 and 389.  The session leak is just take 389 alone; I believe that the 90s boots had take 388 alone instead. The 2012 LLL CD should also be take 389 alone.  "Exit Music (Alternate)" on disc 3 is take 387 only, the last take before they taceted out the woodwind counterpoint in the first 8 bars for subsequent takes.

[Edmilson 7,634]

Is it possible to recreate the score for Fellowship of the Ring as heard in the theatrical cut using the CRs, the OST and the Rarities? Eliminating all the EE additions?

[Faleel 5,447]

10 minutes ago, Edmilson said:

Is it possible to recreate the score for Fellowship of the Ring as heard in the theatrical cut using the CRs, the OST and the Rarities? Eliminating all the EE additions?

You would need the DVD's and video games.

 

And some of the EE cues aren't actually "additions" but earlier versions/restored edits

[Jay 37,520]

20 minutes ago, Edmilson said:

Is it possible to recreate the score for Fellowship of the Ring as heard in the theatrical cut using the CRs, the OST and the Rarities? Eliminating all the EE additions?

 

Nope!