Source Code – Chris Bacon (Soundtrack) [iTunes Version] (2011)

Source Code – Chris Bacon (Soundtrack) (2011)

[i]
Artist: Source Code
Music by: Chris Bacon
Release Year: 2011
Album Name: Chris Bacon � Source Code (Original Motion Picture Score) [iTunes Version]
Genre: Soundtrack
Label: Lakeshore Records
Quality: MPEG-4 AAC Audio 44100Hz 16Bits 256Kbps
Size: 109.87MB

Tracklist:

01. Source Code Main Titles
02. You Don�t Know Me
03. Eight Minutes
04. Racial Profiling
05. Coffee Will Have To Wait
06. Source Code Explained
07. Piecing It Together
08. Am I Dead?
09. One Death Is Enough
10. Colter Follows Derek
11. A Real Validation
12. I�m Gonna Save Her
13. No More Rubble Today
14. Regret And Reconciliation
15. Frozen Moment
16. Everything�s Gonna Be Okay

Plus: Digital Booklet � Source Code (Original Motion Picture Score)

usershare.net

http://www.usershare.net/29g28oupf4r6/SC-CB_forum.rar

filesonic.com

http://www.filesonic.com/file/427167671/SC-CB_forum.rar

uploaded.to

http://ul.to/8mr1p24w

fileserve.com

http://www.fileserve.com/file/S98ytqz

easy-share.com

http://www.easy-share.com/1914461006/SC-CB_forum.rar

filekeen.com

http://filekeen.com/asi4c0qqljuk/SC-CB_forum.rar.html

Enjoy and Please Say Thanks 🙂

Thanks! So cool to have this to fall asleep to tonight.

Thanks!

Aw, hell yeah!

ahh.. yesterday we got Your Highness , today we get this ! how cool is that ? thanks !! xDD

Thanks! Been looking forward to this.

Looks like Howard gave us a new star:)

Thanks!!!

This is a fantastic score, very reminiscent of Signs as well.

Speaking of Signs, this is certainly far better than most of Newton Howard’s output as of late, and a sign that Bacon is going to be amongst the new wave of extremely talented and classically trained composers who make it big in Hollywood.

———- Post added at 07:54 PM ———- Previous post was at 07:24 PM ———-

I would just like to add that I think the recording and master quality of the audio is absolutely superb, the very best you can get. I wish every score could sound as terrific as this one does. Play any track from this and then one from say the Varese Giacchino Star Trek albums. The drop off in audio quality is shocking.

"What happened there Varese?" Goes through my mind every time. The score doesn’t sound anywhere near that bad in the film itself. There are just too many score albums being released today that sound really disappointing for one reason or another. Quality like this is a breath of fresh air nowadays.

Thank you! 🙂

I’ve been hearing good things about this one.

I appreciate you putting it up for us.

Enjoy the day!

Thanks. Chris bacon is a rising star! Make sure you check out his score to Alpha and Omega.

Not to bitch, but the other day, when I asked if this was wanted bu anyone, in the hunt thread, no one responded. So, I did not post. Now….just saying. 😀 Its late, I’m tired….

Haven’t listened to this yet (thanks, by the way), but is it near the quality of Clint Mansell? Because he was scheduled to due the score for this film, but had to drop out due to scheduling.

WOW!

MU mirror here (http://soundtrackzone.blogspot.com/2011/04/source-code-chris-bacon-2011.html)

Haven’t listened to this yet (thanks, by the way), but is it near the quality of Clint Mansell? Because he was scheduled to due the score for this film, but had to drop out due to scheduling.

I really do not understand what you are asking. Mansell is mostly known for electronica and his small scaled Orchestral scores. Bacon’s score is much more finely tuned for the orchestra in mind, and by the sounds of it there was probably 20-30 players or so.

However, this is a very good score. It harkens back to the Golden Age of Film Music, when it was okay to have scores that relied on musical craftsmanship, motifs, and layers instead of just going BOOM all of the time.

Yeah I’d say this is FAR better than the quality of something I would expect from Mansell. I’m not a fan of his work. It is nothing special and relies on short motifs over longer themes but it is at least nicely orchestrated.

I really do not understand what you are asking. Mansell is mostly known for electronica and his small scaled Orchestral scores. Bacon’s score is much more finely tuned for the orchestra in mind, and by the sounds of it there was probably 20-30 players or so.

However, this is a very good score. It harkens back to the Golden Age of Film Music, when it was okay to have scores that relied on musical craftsmanship, motifs, and layers instead of just going BOOM all of the time.

Source Code was recorded with a 70-piece orchestra. You are just so use to modern scores going BOOM along with their overly loud and grating sound masters (courtesy of Dynamic Compression), you therefore downscaled the grandness of the orchestra used by default. 😉

Source Code was recorded with a 70-piece orchestra. You are just so use to modern scores going BOOM along with their overly loud and grating sound masters (courtesy of Dynamic Compression), you therefore downscaled the grandness of the orchestra used by default. 😉

Normally I would say that you are right, but I don’t listen to any of that Media Venture crap. So, I’ll just blame my error on bad listening skills.

That’s the thing, it isn’t just thouse types of scores. For example, John Powell’s How To Train Your Dragon is full of DC. It completely ruins the listening experience. I hardly listen to it these days outside of a few tracks. It’s just draining to get through. As a complete sit through, it’s incredibly frustrating. If they had just left well alone, you could have gotten it sounding as exceptional as Source Code. The loudness wars (http://www.youtube.com/watch?v=3Gmex_4hreQ&feature=player_embedded) are just butchering too many modern scores, and removing all the detail and clarity from the original recordings. It’s a very damaging and needless practice.

Captain Scarlet I agree with you completely. Varese has been poor lately with their mastering.

Five more recent scores from mainstream Hollywood pictures that I would certainly class as having accurate masters, in no particular order:

1) Source Code – Chris Bacon
2) Scream 4 – Marco Beltrami
3) Soul Surfer – Marco Beltrami
4) Harry Potter and the Deathly Hallows Part 1 – Alexandre Desplat
5) Avatar – James Horner

Well even with accurate masters, Harry Potter and the Deathly Hallows Part 1 and Avatar weren’t for me.

The written material in a score is obviously always subjective, all on its own. I’m strictly judging the recordings, mastering etc.

Thanks!

Gooooood stuff! Thanx!

I really do not understand what you are asking. Mansell is mostly known for electronica and his small scaled Orchestral scores. Bacon’s score is much more finely tuned for the orchestra in mind, and by the sounds of it there was probably 20-30 players or so.

However, this is a very good score. It harkens back to the Golden Age of Film Music, when it was okay to have scores that relied on musical craftsmanship, motifs, and layers instead of just going BOOM all of the time.

I guess I should’ve phrased my question better. I was asking about quality in terms of creativity and originality, not post-production recording and mixing.

Still haven’t listened to the score (and I won’t until I see the film, which is a rule of mine), but I’m just hoping that the score will somehow match Mansell’s skill. I loved his work on The Fountain and Requiem for a Dream, so I’m just hoping that Chris Bacon’s score for Source Code isn’t bland or generic. I don’t care if it’s loud or not (I’m a fan of Hans Zimmer… for the most part), I just want it to be intelligent.

Thanks so much for sharing, really excited to listen to this one!

Re-upload, please.
Thank U.