2017 UPDATE: Van Helsing (Deluxe E.) / Alan Silvestri / FLAC/MP3/HiRes / Version 2.0

ALL NEW & ALL IMPROVED!! – THE 2017-RE-RELEASE OF VAN HELSING!!! 😉

Hey guys, it’s me! … What? Yeah, I’m still alive 🙂 But I’m old and on here long enough to start changing my older releases, especially if they are bad or not up to my present-day standards anymore. You can still read what I felt about my 2-CD-Deluxe-Edition of Van Helsing down below. This hasn’t changed, I still hate this old Edition. For that reason, Fink and I revisited it and made a new one, 5 years later. And that is the one we present to you today 🙂

SOUND:

You all know, Van Helsing was recorded for maximum effect. Tons of bass, no mids, brittle treble. And it still puzzles me why I didn’t correct this for my first Edition. Really, I was listening to it again in preparation for this release and was shocked that I hadn’t even tried to rid the score of its sonic weaknesses. I hated listening to it. Just like I used to when I released the old Edition here. But the primary reason in doing a new Edition was Fink (http://forums.ffshrine.org/member.php?u=112417), you can read his reasons in the next paragraph. It goes without saying that I was able to improve the sound considerably this time. The sound isn’t headache inducing anymore, you won’t feel sick when listening to it (this actually happens to me). It’s still bassy (the amount of bass hasn’t changed) but this time the mids are much stronger. Exactly like it’s supposed to be. Exactly like other scores sound. And I really have to wonder why Dennis Sands (recording engineer) thought this "derived-of-mids"-sound would be fun to listen to. Well, it has now been corrected. Another things I didn’t get right last time was dynamic compression. I mostly used automated compression and since I left the noisefloor untouched, I made every dynamic alteration very apparent – because the noisefloor kept changing all the time. This time though, I dynamically compressed the music using faders AND automated compression (high frequencies only) but before even that I changed the noisefloor (lowering the noise for high frequencies but leaving lower frequencies untouched). In short, I’m very happy with the sound I achieved for this revisited set! 🙂 To me, it was fun to re-visit it to do it again, it showed me how I have learned within 5 years.

MUSIC:

Another big problem of my old set was that I used most of the music the sessions provided (with the exception of the ‘End Credits’). Including all 5 second stingers, atmospheric stuff, etc. Keeping in mind how Silvestri likes to score movies this created a very, very uneven listening experience. In some cases, musical pieces completely lost their momentum (‘Attacking Brides’, ‘Transylvanian Horses’), in other cases tracks were simply boring without the movie they were supposed to support. Frankly, all of the music was too much and a 2-CD-release was highly problematic. And since Fink hated my Edition too he proposed to make a new one, again using the sessions. So, Fink edited the music to fit on just one CD while keeping in mind to delete the stuff that hindered musical flow. In my opinion, he succeeded on all accounts. I just refined two or three of his edits and added around 5 minutes of additional music (he forgot the second half of ‘Transylvanian Horses’ :D). I also performed several inaudible microedits in 5 or 6 pieces to tighten the musical narrative. Maybe you’re able to hear where I edited… though I doubt it ;). Oh, and this might be the first time in my life where I included tracked music! I decided to repeat the music used for the last scene before the Credits roll. You may remember, on the OST Silvestri uses a re-orchestrated reprise of the Van Helsing Gypsy-Guitar theme at the end of ‘Reunited’ while I didn’t include it 5 years ago on my first Edition (how could I?? WTF was I thinking?). To offer something different, I combined ‘Reunited’ with the music used in the movie (excerpts from ‘One Year Later’), I think it’s a better fit. And this time the ‘End Credits’ are included. I really have no idea why I deleted them 5 years ago – because they consist of genuine material one cannot find elsewhere. So this release proves once and for all that you can make or break a score by the amount of music included on a soundtrack. The good sound isn’t even the best about this new 2017-Deluxe-Edition, the musical flow is. In fact, now I actually like to listen to this score again. Thanks to Fink and his skills in selecting the right music the flow is even better than the OSTs.

COVER:

Do I even need to write anything? Just look above. Not only did I replace icons and symbols with the ones I use now, I also completely re-did the cover for the back, the inlay and the disc. I couldn’t believe how ugly they were 5 years ago! One thing I didn’t change is the font: Trajan. Yes, it’s overused, I don’t like to look at it anymore. But not only does the official advertising campaign use it, I also thought that it still fits the movie. So I kept it. Since I don’t like to use the DE-banner these days yet at the same time people always want them, I decided to include both options. Just take the one you yourself like the most 🙂

And here’s Fink for you:

I wanted to have my hands on the sessions for Van Helsing such a long time that when I got them, it was unthinkable to erase any second of it. The album i bought was quite fun but certainly too short! Sessions got much more music but sound wasn’t good (I remember huge differences in volume levels for instance), so when SonicAdventure did his first Deluxe Edition he had already fixed some major issues. But with time passing I realized I wasn’t coming back often to this score, and after a while I wasn’t listening to it at all. I lost my interest into it. Maybe because now I d rather have a great 80 minutes album than full scores on 2 cds with all the stingers and very ambient stuff… good in the movie, but not as a listening experience.
It s a very "obvious" score, I mean it s not subtle. Themes and motifs are good but variations on them are pretty rare, which can make it often repetitive. So when Sonic offered me to work on it, I was really happy to be part of it. The choices I had to make in the editing process were quite easy. I worked really fast on this… and forgot to include one important track (Transylvanian Horses Part II). That s when I realized that I shouldn’t rush that much. Cause within few weeks with the help of Sonic I made the edit sharper, the flow became even better, and most importantly… the FUN was back! And thanks to him the pounding during the long action moments won’t drive you crazy anymore, and in the short quiet passages the change of dynamics will reveal great details to your ears.
I don’t want to sound cocky but I think we can proudly present the best album presentation now, a gothic action-packed ride I would have loved to hear few years back! Have fun 🙂

That’s all for now. And this time it actually pleases Fink and me to say: Have fun! Because now with this new Edition… we have it! 😀

Old Text:
SOUND:

I made this release here more than a year ago and I never planned to share it. But yesterday someone asked me and so here it is. I didn�t bother to release it because it�s one of the worst things I�ve ever created. To reduce the tiresome pounding of the bass and the stop-and-go dynamics I used automated dynamic compression (in this case a dynamic compressor modeled after ancient analogue compressors). For comparison ‘Salt’ (Thread 126896) was done manually by hand for every single track which yielded a superior result. My ultimate goal was to make this score enjoyable, well, I exaggerated because the dynamic alterations are clearly audible: shifting noisefloor levels, stage instabilities, pumping artifacts. I turned a score from the mid-2000s into a score from the early ’90s! I�ve also tried to reduce the droning bass but I wasn�t very successful, ‘Van Helsing’ really needs this pounding and deep bass, without it wouldn�t work. Staging isn�t as natural as it could be; the dynamic compressors are to fault here. Naturally I used the best signal processors available but even high priced software produces crappy results should it be used the way I used it here.

MUSIC:

In complete form the music isn�t particularly enjoyable. The relentless pounding gets on my nerves, the differences between soft and loud are awful. Though I have reduced the latter the music still suffers because of the movie it was composed for. Alan Silvestri surely did a fine job as he created highly functional and imaginative music. But on its own this score isn�t very good. Some tracks are detrimental to the flow of the score (‘Help from the Dead’ or ‘Ball Fanfare’ for example) and I pondered if I should move them to the end in order to improve the flow; in the end I decided against it. But I still indulged in my little habit of combining several tracks into one bigger suite; this leaves 33 tracks instead of over 50 yet it�s still complete. In any way, this complete version plays worse compared to the official CD which is a nice, tight and cohesive overview of the score. I suggest to buy it at Amazon.

COVER:

Nothing special about the cover. You can choose between three front covers (which you can see above). The jewel inlay (for the transparent CD holder) are matched accordingly of course. Please excuse the occasional drop in picture quality; I had to use some substandard pictures.

Tracklist:

1. Transylvanian Prologue 5:26
2. Werewolf Trap 1:50
3. One Year later 1:04
4. Hyde and Seek 4:23
5. 450 Years Ago 2:55
6. Journey to Transylvania 1:27
7. Attacking Brides 6:37
8. Castle Dracula 0:53
9. Let�s Make Some Babies 4:42
10. Almost a Dance 1:12
11. Bat Attack 4:42
12. Frankenstein�s Monster 2:52
13. Transylvanian Horses 5:07
14. Valken Vanquished 1:56
15. All Hallow�s Eve Ball 3:23
16. Tough Crowd 1:52
17. Dracula�s Door 7:14
18. Everyone Fights 7:00
19. The Left Hand Of God 7:17
20. Reunited 4:30
21. You�ve Been Bitten! (End Credits) 2:23

Pass (for all archives): Vampire_Hookers_On_Drugs!

CD (16/44.1):

https://www.mirrorcreator.com/files/0NSWQ4KO/MediumBassHeavyMonsters.part1.rar_links
https://www.mirrorcreator.com/files/NGWQHQHW/MediumBassHeavyMonsters.part2.rar_links

MP3 (320 kbps):

https://www.mirrorcreator.com/files/NWQLGSII/LightBassHeavyMonstes_0.rar_links

HiRes (24/88.2):

https://www.mirrorcreator.com/files/HZMARMGW/ReallyBassHeavyMonster.part1.rar_links
https://www.mirrorcreator.com/files/06NR11BL/ReallyBassHeavyMonster.part2.rar_links

Considering recent takedown events here at the Shrine, maybe someone would like to provide mirrors? 🙂

Thanks

It was quick! Thanks!

Thank a bunch! I’ll give it a listen.

Thanks so much

Totally interested to hear it. Thanks!!

Thanks a lot.

First of all this is one of my most loved Silvestri score and so I’ve had about 3 or more version of this particular score, seeing what you put into remastering it got me excited and so I took the liberty of testing it and to my amazement It sounded "fabulous" as I’ve tried to compare this to the other versions I had. I don’t know why the dislike on this particular score or maybe your not just a fan of the composer or whatever but on the merit of what you added/subtracted/edited this sounded great in my not so expert or keen sense of hearing so for that "blessed" you! oh that maybe an exaggeration but to say this in it’s sincerest form. Thank you for making it sounded better than the official release! 😀

P.S. this deserves to be heard by fans of massive film orchestral score.

Thank you! (Please continue sharing your talent making good music sound better)

Thank you for making it sounded better than the official release! 😀

P.S. this deserves to be heard by fans of massive film orchestral score.

Thank you! (Please continue sharing your talent making good music sound better)

Agreed! Sounds so much better than the official release album.

First of all this is one of my most loved Silvestri score and so I’ve had about 3 or more version of this particular score, seeing what you put into remastering it got me excited and so I took the liberty of testing it and to my amazement It sounded "fabulous" as I’ve tried to compare this to the other versions I had. I don’t know why the dislike on this particular score or maybe your not just a fan of the composer or whatever but on the merit of what you added/subtracted/edited this sounded great in my not so expert or keen sense of hearing so for that "blessed" you! oh that maybe an exaggeration but to say this in it’s sincerest form. Thank you for making it sounded better than the official release! 😀

P.S. this deserves to be heard by fans of massive film orchestral score.

Thank you! (Please continue sharing your talent making good music sound better)

Thank you very much, it tends to happen that I�m too critical. I still don�t like this release however 😉

BTW, I have nothing against Alan Silvestri, I love him, he surely is one of the greatest living composers. I mean I grew up with him and he�s still around, reinventing himself… gorgeous music. Just not ‘Van Helsing’ as my own version destroyed any positive feelings for it.

Thanks for this Flac version 🙂

many thanks

Sonic Adventure: I appreciate all the passion and hard work that go into your projects. I also appreciate your candor in the quality of this particular one. Your contributions are outstanding!

Thank You so much for this and all your other work. Your attention to the particular shows with great result. 🙂

Just out of curiosity, what aesthetic intention inspired you to not include the End Credits cues?

Again, thanks so much for your generosity!

Thank You so much for this and all your other work. Your attention to the particular shows with great result. 🙂

Just out of curiosity, what aesthetic intention inspired you to not include the End Credits cues?

Erm… I don�t know anymore. Wasn�t it spliced together from other pieces of the score and not a unique composition like it had been on ‘The Mummy Returns’? I can remember that I thought it to be pretty redundant but the exact reason has escaped me right now.

Erm… I don�t know anymore. Wasn�t it spliced together from other pieces of the score and not a unique composition like it had been on ‘The Mummy Returns’? I can remember that I thought it to be pretty redundant but the exact reason has escaped me right now.

It indeed sounded like some parts of the end credits where used in the earlier part of the score in the beginning but with perhaps a slight edited or remix version for the end credits not really sure though.

Thank you very much for this share, as well as for your other works.

Thanks for your Good job!

But what about last track "16. Reunited 3:49" ? We all know it’s not like what we heard in the film. And, the album version is better.

… We all know it’s not like what we heard in the film…

Hehehe… Really ?… I mean, this film is such a classic to be remembered and studied ! We all know, obviously !

😀

Thanks for your Good job!

But what about last track "16. Reunited 3:49" ? We all know it’s not like what we heard in the film. And, the album version is better.

Is it? I haven�t heard the original score release in a long time. Nor did I listen to this one during the last year.

Thanks for your Good job!

But what about last track "16. Reunited 3:49" ? We all know it’s not like what we heard in the film. And, the album version is better.

Is it? I haven�t heard the original score release in a long time. Nor did I listen to this one during the last year.

The film and album version of "Reunited" features the main theme representing the Van Helsing character at the end of the track, so basically it’s the tracks "Reunited" and "One Year Later" put together. Honestly, I feel the "Reunited" track plays better by itself, without the main theme diluting the quiet buildup of the track to its lovely conclusion, and the main theme plays in enough places throughout the score by itself that I think using this version of the track is the superior choice.

Thank You so much for this and all your other work. Your attention to the particular shows with great result. 🙂

Just out of curiosity, what aesthetic intention inspired you to not include the End Credits cues?

Again, thanks so much for your generosity!

Erm… I don�t know anymore. Wasn�t it spliced together from other pieces of the score and not a unique composition like it had been on ‘The Mummy Returns’? I can remember that I thought it to be pretty redundant but the exact reason has escaped me right now.

This is correct. The End Credits suites (there’s two for Van Helsing) both feature bits of score spliced together and are not unique compositions. It mirrors the cue "The Mummy Returns" from, well, The Mummy Returns soundtrack in that regard.

god job!bob!

Thank you for this and your other shares and the love and effort you put into it.

Thank, SonicAdventure.

thank you for another great score, one my favourites from Silvestri 🙂

Might anyone still have this for a re-up? Thanks in advance!

Thanks.

I really appreciate all of your work, Sonic. Thanks.

Anyone catch this before the links expired? Please re-up if you can. Thanks in advance!

BTW, you are now able to vote for a score I then shall turn into a Deluxe Edition. Do it here: http://forums.ffshrine.org/f2/%5Bpoll%5D-ask-sonicadventure-deluxe-edition-your-favorite-179037/#post2758074

thanks

Does anyone still have this?

.

Thanks for this man! And Thanks to SonicAdventure!

Thank you!

Thanks for the re-up!

Thanks so much for the re-up!

Thank you so much Sonic for the thread. 🙂

Thank you so much Herr Salat for the re-up. 🙂

Thanks Sonic and Herr Salat!

thanks to SA and Mister Salat 🙂

Thank you very much SonicAdventure for your great work and Herr Salat for re-up! 🙂

Thanks for this release and the re-up.

May I have a Mega link, sir?

thanks Salat and Sonic

This thread is 2 years old!

This thread is 2 years old!
And the music still great. Thank you for re-uploading!

Thank you!

This one along with Zimmer’s "The Davince Code" is one of the most unexpected treasures of the past decade.Thanks for your effort and your work 🙂

———- Post added at 07:00 AM ———- Previous post was at 06:41 AM ———-

Thanks man, when the hope was lost you saved the day

I was sure I had this….. until I came to listen to it….
I know it’s been a while but is there any chance of a re-up please ?

Read the previous posts.

Read the previous posts.

If you are referring to the ADrive link a few posts above mine then I have been trying that one for over a week but to no avail hence my request if anyone could provide a reup.

SonicAdventure is too critical about this score, but it deserves to be heard.
Here is a new link for his great work:

https://mega.co.nz/#!ukYW0abB!5qsMcY1LGUZRev5LmGkH6kTCKchBB_yMp5aJoU5 yGME

Superb. Many thanks 🙂

Thanks!!!!

Excellent work on this! You fixed a lot of the balancing issues I had when attempting a deluxe edition. Everything sounds so spacious, full and clear. How do you make it sound so clear? You’ve told me once but my memory is a fickle thing. You’ve taught me some awesome tricks (remember how crappy a lot of my older stuff sounded even if the editing was pretty good?) and I’ve learned a few of my own that could always benefit from a little more knowledge.

awesome job on the mastering!! i can’t believe i havent seen this the first time. thanks a lot for this improvement!

———- Post added at 09:09 AM ———- Previous post was at 09:07 AM ———-

thanks as well Petros for the new DL!

Thanks for the new link, Petros.

Excellent work on this! You fixed a lot of the balancing issues I had when attempting a deluxe edition. Everything sounds so spacious, full and clear. How do you make it sound so clear? You’ve told me once but my memory is a fickle thing. You’ve taught me some awesome tricks (remember how crappy a lot of my older stuff sounded even if the editing was pretty good?) and I’ve learned a few of my own that could always benefit from a little more knowledge.

I really don�t know what I told you. But what I do isn�t a secret or something. Nor is it some kind of magic… crap, now I�m humming ‘It�s a kind of magic, magic, maaaagic’ :D. No, it really isn�t, mostly I use an equalizer and two stereo field tools. I also compress dynamics with automated faders (-> fancy word for doing it all myself instead of hitting "Go" with some automated dynamic compressor). The thing I always want in scores is a balanced frequency response. Many, many scores are not balanced and that�s where I can come in, either filling up ‘holes’ or shrinking ‘hills’ (referring to bumps and dips of the EQ curve within the spectrum analysis).

Thanks!

thanks to SonicAdventure for this great work and all of them for re up

All of them?
Stupid!

http://i.imgur.com/YMNWuph.jpghttp://i.imgur.com/xbtN7pp.jpg
Van Helsing (2004) (2012) Deluxe Edition / Soundtrack Score > Alan Silvestri

Link MP3 320k: VHelsing.zip (98,37 MB) – uploaded.net (http://uploaded.net/file/ha09rslc) http://www.ulozto.net/xFEEh5uS/vanhelsingdeluxeedition-prowler-rar
Tracklist:
Score
01. Transylvania 1887 (01:27)
…
12. Reunited (04:24)

Deluxe Edition
CD1
01. Transylvania 1887
…
17. Family… and Falling
CD2
01. Frankenstein’s Monster
…
16. Reunited

thanks

Thanks Sonic for your original work and Petros for your MEGA re-up.

Thank you SonicAdventure for you wonderful work, and thank you Petros for the Mega re-up!

Thank you both, SonicAdventure and Petros!

Thanks to sonic and petros

Big Thanks))

thanks

Thanks to sonic and petros

SonicAdventure is too critical about this score, but it deserves to be heard.
Here is a new link for his great work:

https://mega.co.nz/#!ukYW0abB!5qsMcY1LGUZRev5LmGkH6kTCKchBB_yMp5aJoU5 yGME

Thank You SO MUCH!

Likewise, thanks much!

Thank you so much for the efforts you put into this project, SonicAdventure!
I guess it must’ve been a real torture for you, especially since you don’t enjoy this score. 😉
Thanks for sharing it in the first place!

I greatly appreciate the re-upload, Petros!
Thank you very much, my friend! 🙂

Happy Holidays! ^^

Very nice work

2017 Update: my old Deluxe Edition is gone, it has been replaced with a new one 🙂 Go to the first post of this thread to find improved artwork, sound and musical flow. And a HiRes option!

Can’t wait to check this out!
Thanks very much for the new version, and all your hard work!

Thanks!

lol I was cleaning up my library and saw your v1 next to the sessions and I was contemplating if I should keep the sessions. I didn’t throw them out, but then BAM! Here’s v2. This will make a nice addition to both (yes, I’m keeping them, at least for the time being – comparison sake).

Thanks for sharing.

Thank you.

It’s look AMAZING ! Thanks a lot 🙂

Many thanks for this 2017 version!

Thanks for your work on this project and for sharing it.

2017 Update: my old Deluxe Edition is gone, it has been replaced with a new one 🙂 Go to the first post of this thread to find improved artwork, sound and musical flow. And a HiRes option!

Thanks!

lol I was cleaning up my library and saw your v1 next to the sessions and I was contemplating if I should keep the sessions. I didn’t throw them out, but then BAM! Here’s v2. This will make a nice addition to both (yes, I’m keeping them, at least for the time being – comparison sake).

Well, if you ask me, you should delete the OST, the sessions and my v1 Edition and only keep this new Edition 😉

For some reason I learned some time ago that I don’t need everything that was recorded for a score. Sometimes I’m quite happy with a well rounded listening experience. Like this one 😀

———- Post added at 11:17 PM ———- Previous post was at 11:17 PM ———-

It’s look AMAZING ! Thanks a lot 🙂

No Peggy, you look amazing 🙂

Thanks!

But the primary reason in doing a new Edition was Fink (http://forums.ffshrine.org/member.php?u=112417), you can read his reasons in the next paragraph.

But I don’t see Fink’s paragraph?

Thanks a lot for re-visiting this Silvestri blockbuster action/adventure score again
and for your intense and perfect work as always.
You handle film music very professional.
Kind regards.

Thanks!

But I don’t see Fink’s paragraph?

Writing it as I write this. I guess I was too fast and he wasn’t home 🙂

EDIT: his paragraph is now in.

The Masterblaster returns! Very cool. Have just listened through it and it is indeed A LOT better than the edition you put up years ago. I’m not one to look a gifted horse in the mouth, but I’m glad you’ve gone back to this one. Loving it a lot. Thanks!

The Masterblaster returns! Very cool. Have just listened through it and it is indeed A LOT better than the edition you put up years ago. I’m not one to look a gifted horse in the mouth, but I’m glad you’ve gone back to this one. Loving it a lot. Thanks!

Thanks a lot! And I’m glad, too 🙂

Thanks!

Thank you so much.

Truly amazing work, Sonic! You did it again. Keep up the good work.

thanks !!!!

Thanks!
I’ve been listening to the complete score for years, but there’s a lot of unnecessary material, and I’m glad you included the End Credits this time! 🙂

Thanks for another swell effort!

I’ll admit I hadn’t been too keen on getting this set prior, considering that not only did I not have much interest in the score, but the description for v1 didn’t make it sound appealing in the slightest. While that probably should’ve put me off from from other sets of yours with similar issues, the interest in those cases were too strong to ignore any issues (*coughs* Spider-Man 3 *coughs*).

However, seeing as you and Fink are happier with this v2, I’m more keen to check it out. I’m still getting v1 for curiosity sake, considering it’s always fun to compare and contrast.

Anyhow, hope you do well on your quest to update older sets! Any necessary updating is always good. Just as long as the time is well spent, I’m sure there won’t be much issues. Good day!

Thanks for another swell effort!

I’ll admit I hadn’t been too keen on getting this set prior, considering that not only did I not have much interest in the score, but the description for v1 didn’t make it sound appealing in the slightest. While that probably should’ve put me off from from other sets of yours with similar issues, the interest in those cases were too strong to ignore any issues (*coughs* Spider-Man 3 *coughs*).

However, seeing as you and Fink are happier with this v2, I’m more keen to check it out. I’m still getting v1 for curiosity sake, considering it’s always fun to compare and contrast.

Anyhow, hope you do well on your quest to update older sets! Any necessary updating is always good. Just as long as the time is well spent, I’m sure there won’t be much issues. Good day!

Just ignore v1, it really isn’t good. And I might in fact update the sound for Spider-Man 3 in the near future. Because I finally found a way to make it more appealing 🙂

Thanks!
I’ve been listening to the complete score for years, but there’s a lot of unnecessary material, and I’m glad you included the End Credits this time! 🙂

Thanks! That was exactly the point when i edited it. And yes the End Credits are cool, especially the great heroic variation at the end ! I never understood why Sonic didn’t include it the first time either ^^’ that s why it s cool to work as a team, we complete each other 🙂

Thanks! That was exactly the point when i edited it. And yes the End Credits are cool, especially the great heroic variation at the end ! I never understood why Sonic didn’t include it the first time either ^^’ that s why it s cool to work as a team, we complete each other 🙂

Precisely 🙂

Thank you very much!

sonic & fink: thanks for the new release 🙂

Thanks to you both for this awesome update! 🙂

Many Thanks !!!

Thanks a lot & for the new 2017 Edtion.

I hope your do the same with Atlantis 😉

Thanks a lot & for the new 2017 Edtion.

I hope your do the same with Atlantis 😉

?? Do you think there’s something wrong with Atlantis? I always thought that it flows well. And I certainly wouldn’t want to change that. The sound though…

I’d like to listen to what you’ve done, but I really, really don’t like this score. It’s obnoxious with a capital O B N O X I O U S.

Thanks so much Sonic & Fink for the new and improved update! Much appreciated and I look forward to any upcoming deluxe editions you generously share!!! Have a great week.

And I might in fact update the sound for Spider-Man 3 in the near future. Because I finally found a way to make it more appealing 🙂

😀 :love: Could I perhaps offer you some new sources I found? It’s not much, considering very few of it is Young and is mostly the other composers, but it could be better than what you had to work with. It could even help get rid of that track error in your set. But it’s your call.

Where to download this. Mirror creatro won’t load at all for me.

———- Post added at 11:25 PM ———- Previous post was at 11:21 PM ———-

Yeap. fixed my network connenction ipv4 settings. You need to use google dns servers and not automatic settings to acces mirrorcreator!

I’d like to listen to what you’ve done, but I really, really don’t like this score. It’s obnoxious with a capital O B N O X I O U S.

😀 I cannot argue with that, I can understand that people think that. Though I have to say, the version Fink and I now did, somewhat reduces that. Of course, it still is a huge plate of raw, not very tender red meat. So it’s probably enjoyed best with a bottle – or rather a barrel – of red wine 🙂

———- Post added at 02:23 AM ———- Previous post was at 02:20 AM ———-

😀 :love: Could I perhaps offer you some new sources I found? It’s not much, considering very few of it is Young and is mostly the other composers, but it could be better than what you had to work with. It could even help get rid of that track error in your set. But it’s your call.

I know which ones you mean. Someone already gave them to me months ago and I think that none are by Chris Young. All of them contain the re-scored pieces. They are completely lossless, at least they look like it. I never listened to them and deleted them after a while as I knew I wouldn’t need them.

A track error? Where? I really like to know, I thought I caught them all. I would be very thankful 🙂

I know which ones you mean. Someone already gave them to me months ago and I think that none are by Chris Young. All of them contain the re-scored pieces. They are completely lossless, at least they look like it. I never listened to them and deleted them after a while as I knew I wouldn’t need them.

A track error? Where? I really like to know, I thought I caught them all. I would be very thankful 🙂

The promo I have is supposed to purely be Deborah Lurie. However, there are two or so pieces that are definitely Young. It’s possible that you have them already in some form, but perhaps these could be better quality ones. Besides, it’s a promo that I haven’t seen anyone bring up all, was found out of nowhere, and sparked me to have an idea for a particular project.

There was mention that "New York Morning" being mistakenly put in the proper track list, which is a John Debney cue. I should have a version without it, so it could be of use.

There was mention that "New York Morning" being mistakenly put in the proper track list, which is a John Debney cue. I should have a version without it, so it could be of use.

Yeah, Fink spotted it one or two days after I uploaded it here. I replaced that upload a while later with an updated version of "New York Morning" where the Debney cue was deleted.

Thanks

Thanks for sharing.

Thanks!

Thank you for this, superb and amazing work!

Thank you for bringing this score to us again and for all your expert efforts. I don’t know this score, even though I saw the movie many years ago on its release. It will be an interesting listening experience. 🙂

?? Do you think there’s something wrong with Atlantis? I always thought that it flows well. And I certainly wouldn’t want to change that. The sound though…
Nothing is wrong the are Awesome, but some cues are sadly missing, but i know you don’t like Complete Deluxe Edtions. 😉

Nothing is wrong the are Awesome, but some cues are sadly missing, but i know you don’t like Complete Deluxe Edtions. 😉

Ah, ok. Yes, I did my Deluxe Edition before the sessions were leaked. So they ended up being a combination of OST & FYC. But is there so much music missing? I still have 8 minutes that could be filled (considering an 80 minutes disc) though I wouldn’t want to do a 2-CD release.

P.S.: I like Complete Deluxe Editions (in fact, I would prefer to include every little bit) – but only if the music flows well enough 😉

But is there so much music missing? I still have 8 minutes that could be filled (considering an 80 minutes disc) though I wouldn’t want to do a 2-CD release.

8 Minutes are not much, you right, but i love the & Score (& Movie of course) so, that the 8 Minutes so much for me 🙂

8 Minutes are not much, you right, but i love the & Score (& Movie of course) so, that the 8 Minutes so much for me 🙂

Well, I wanted to update the sound anyway, depending on the quality of the sessions I might also think about adding some music. Do you have the sessions or do you know where I could find them? Because I didn’t download them when they were released.

EDIT: found it. Will have a look.

Thanks very much for this new edition of Van Helsing. You fixed all the issues that made listening to the prior CDs a chore. Great job.

Thank you so much Fink and Sonic! I also could NOT listen to your prior version Sonic and archived it without ever playing it again… So glad that this is now fixed, since I actually enjoy what Silvestri did very much!

This new version is incredible! Thanks you for your effort!

i cannot download any of these links

Thank you so much Fink and Sonic! I also could NOT listen to your prior version Sonic and archived it without ever playing it again… So glad that this is now fixed, since I actually enjoy what Silvestri did very much!

I know the feeling 😀

———- Post added at 01:54 AM ———- Previous post was at 01:54 AM ———-

i cannot download any of these links

Can’t help you there. For me, they are still working.

Thank you! Love the score.

Well, I wanted to update the sound anyway, depending on the quality of the sessions I might also think about adding some music. Do you have the sessions or do you know where I could find them? Because I didn’t download them when they were released.

EDIT: found it. Will have a look.
Awesome & I hope for a 2017 Update 😉

I’m not the biggest fan of including Van Helsing’s theme (a.k.a "One Year Later") at the end of "Reunited". The cue itself is a really slow building and beautiful cue and is a nice enough end in and of itself. The inclusion of "One Year Later" at the end feels tacked on, even though that’s how it was in the film. Besides, if you really wanted to retain that edit, you could just put the second part of the end credits in which while not containing any new material, is a nice suite and includes an abridged version of "Reunited" that finishes with the "One Year Later" theme. And since that’s the final cue of the album, it works even better as an end to the whole product. And it would mirror your version of The Mummy Returns, which did a similar thing with the end credits where the first part is new material and the second part is a rather fantastic suite of the themes.

That’s just how I would do it of course, and I can at least see where you were coming from in your edit thanks to your extensive notes, which I just love to see (part of why I waffle on whenever I upload anything in the custom covers thread – I like to hear the stories and the processes). It’s actually something I’ve been thinking about since before this deluxe edition was uploaded, since I’ve had the complete release for a long time (and love it).

Funnily enough, I actually think there was a similar dilemma regarding Silvestri’s Tomb Raider: The Cradle Of Life score. "Pandora’s Box" is this really nice build-up cue that finishes off the movie, but immediately afterward there’s the short action-y "Not Meant To Be Found", which I haven’t seen the movie but I get the feeling the two cues played back-to-back. But I appreciate the album for separating the two cues, even if you’re left with one 40 second cue which could easily be added onto the other one. I can appreciate them by themselves.

I’m not the biggest fan of including Van Helsing’s theme (a.k.a "One Year Later") at the end of "Reunited". The cue itself is a really slow building and beautiful cue and is a nice enough end in and of itself. The inclusion of "One Year Later" at the end feels tacked on, even though that’s how it was in the film. Besides, if you really wanted to retain that edit, you could just put the second part of the end credits in which while not containing any new material, is a nice suite and includes an abridged version of "Reunited" that finishes with the "One Year Later" theme. And since that’s the final cue of the album, it works even better as an end to the whole product. And it would mirror your version of The Mummy Returns, which did a similar thing with the end credits where the first part is new material and the second part is a rather fantastic suite of the themes.

Well, I knew that some people wouldn’t like it. But this is the thing with individualism. When I watched the scene to know what they were doing within the movie (because suddenly I remembered that Silvestri finished the album with a reprise of the Van Helsing theme) I found that I was almost touched by the sudden change. Because it made the scene before it even stronger. So I repeated it for this Edition. I think it works marvellously as it makes the music before the reprise stronger. Because of the contrast the Van Helsing theme feels slightly hollow which I liked (because the contrast mirrors VHs loss). Maybe too much thought put into it but I think it makes sense. And I wanted to keep the end credits music like a self contained piece because they are different and I wanted them to stay like that.

With Mummy Returns it was different since Silvestri compiled/composed the end credits suite himself. It was put like that onto CD and the suite always worked very, very well. And don’t forget: the end credits suite from the OST was the last piece on my Mummy Returns set and an alternate came before it (and before that, the song).

In both cases I more or less copied how it was done in the movie.

Funnily enough, I actually think there was a similar dilemma regarding Silvestri’s Tomb Raider: The Cradle Of Life score. "Pandora’s Box" is this really nice build-up cue that finishes off the movie, but immediately afterward there’s the short action-y "Not Meant To Be Found", which I haven’t seen the movie but I get the feeling the two cues played back-to-back. But I appreciate the album for separating the two cues, even if you’re left with one 40 second cue which could easily be added onto the other one. I can appreciate them by themselves.

Was it like that in the movie? I have seen it but can’t remember (it wasn’t very good). But boy, I wish they would expand that soundtrack.

I just gave it a spin and it’s like listening to it for the first time again, the sound is fantastic!
Also, the presentation is great, I have been listening to the complete score for years, which has a lot of short cues, I’ll be keeping your version.
I do agree with Glassbutterflies though, I think Reunited is a perfect cue and adding another cue at the end feels a little unnecessary, but it’s a minor nitpick.
Anyway, Thanks again for your fantastic work, keep ’em coming! 🙂

Well, I knew that some people wouldn’t like it. But this is the thing with individualism. When I watched the scene to know what they were doing within the movie (because suddenly I remembered that Silvestri finished the album with a reprise of the Van Helsing theme) I found that I was almost touched by the sudden change. Because it made the scene before it even stronger. So I repeated it for this Edition. I think it works marvellously as it makes the music before the reprise stronger. Because of the contrast the Van Helsing theme feels slightly hollow which I liked (because the contrast mirrors VHs loss). Maybe too much thought put into it but I think it makes sense. And I wanted to keep the end credits music like a self contained piece because they are different and I wanted them to stay like that.

With Mummy Returns it was different since Silvestri compiled/composed the end credits suite himself. It was put like that onto CD and the suite always worked very, very well. And don’t forget: the end credits suite from the OST was the last piece on my Mummy Returns set and an alternate came before it (and before that, the song).

In both cases I more or less copied how it was done in the movie.

Again, it’s your release, you can do whatever you want with it. And that’s the cool thing about releases like this, that we can discuss how things were put together; whether cues can be made better through major changes or minor edits, both from a technical or (as you discussed) narrative standpoint. For example, I really like your story about how you came to appreciate then love Kingdom Of The Crystal Skull through your mastering process because it shows the importance of album presentation, mastering and flow on first impressions of a score. It makes me wonder about other potentially fantastic scores out there that are potentially overlooked due to bad mastering and the like. And it really makes you evaluate where your love for scores come from. Because as much as I would like to believe that I love my favourite scores because of their own merits (their composition, themes, etc.), I’m sure album presentation, mastering, even cover art probably played a part in it too.

I also like that, despite going into the technicals of how your remastering efforts work, you can also elaborate on changes you made because of how they fit narratively, and how the music makes you ‘feel’ this way when you edit it like this and that. That’s really what music means to me, at least. And I love hearing how people like you interpret how the same theme can have different meanings when they play at different points despite similar (or in this case, the exact same) composition. As long as you can back up your changes with a solid explanation (which you have) there’s no right or wrong way about it. And differences in opinion make things more interesting, I guess. I’m thinking about making a similar post under your The Spirits Within thread because some of those edits I like, some I don’t, and some are better then what I would’ve done in those areas. It’s really cool to examine your releases!

As for the credits suite from The Mummy Returns, I could’ve sworn that was all old material put together, not redone (if you listen to "My First Bus Ride" and the suite version of it, they both have that weird clicking noise near the end). But you probably know more than I do.

Was it like that in the movie? I have seen it but can’t remember (it wasn’t very good). But boy, I wish they would expand that soundtrack.

I haven’t seen the movie, or if I have it was so long ago I don’t remember. But I would love to see an expanded release. I’ve actually kind of found it weird that The Mummy Returns & Van Helsing have complete releases but not Cradle Of Life, since they all came out around the same time and all sound quite similar to one another. I actually consider all three to be a kind-of "trilogy" for Silvestri, they all work together really well. Kind of like how Dinosaur, Atlantis & Treasure Planet make a "trilogy" of sorts for Newton Howard.

Again, it’s your release, you can do whatever you want with it. And that’s the cool thing about releases like this, that we can discuss how things were put together; whether cues can be made better through major changes or minor edits, both from a technical or (as you discussed) narrative standpoint. For example, I really like your story about how you came to appreciate then love Kingdom Of The Crystal Skull through your mastering process because it shows the importance of album presentation, mastering and flow on first impressions of a score. It makes me wonder about other potentially fantastic scores out there that are potentially overlooked due to bad mastering and the like. And it really makes you evaluate where your love for scores come from. Because as much as I would like to believe that I love my favourite scores because of their own merits (their composition, themes, etc.), I’m sure album presentation, mastering, even cover art probably played a part in it too.

I also like that, despite going into the technicals of how your remastering efforts work, you can also elaborate on changes you made because of how they fit narratively, and how the music makes you ‘feel’ this way when you edit it like this and that. That’s really what music means to me, at least. And I love hearing how people like you interpret how the same theme can have different meanings when they play at different points despite similar (or in this case, the exact same) composition. As long as you can back up your changes with a solid explanation (which you have) there’s no right or wrong way about it. And differences in opinion make things more interesting, I guess. I’m thinking about making a similar post under your The Spirits Within thread because some of those edits I like, some I don’t, and some are better then what I would’ve done in those areas. It’s really cool to examine your releases!

Yes, different mastering can make a world of difference for the reception. Though a great score like Star Trek:TMP will always be a great score, no matter how crappy it sounds. But… on the other hand, a score like Rogue One might be perceived better if it would sound better, you know, like a typical Star Wars score. But it’s also dependend on oneself. As with all artistic things, you as the receptor bring your own baggage along. Naturally, you interpret music differently than me or others. What makes it difficult for Silvestri, because he has to compose music that elicits the same reaction from most of the viewers in order for it to be able to support the movie.

And do I backup my changes with a solid explanation? Because most of the time they are gut decisions. Combining "Reunited/One Year Later" was such a gut decision. I listened to the movie version on Youtube and thought "Wow, very cool, I forgot" https://www.youtube.com/watch?v=pTgmwHTXCsQ That decided it right then. It was only when I was on the brink of actually combining it that I thought about the reasons. I asked myself why I was feeling what I was feeling. Sounds a bit touchy-feely but that’s how it was.

As for the credits suite from The Mummy Returns, I could’ve sworn that was all old material put together, not redone (if you listen to "My First Bus Ride" and the suite version of it, they both have that weird clicking noise near the end). But you probably know more than I do.

I actually never listen to the suite. But if the same clicking noise is there it probably means it is the same recording (probably the click track). So the suite is an extremely well done combination of different pieces.

I haven’t seen the movie, or if I have it was so long ago I don’t remember. But I would love to see an expanded release. I’ve actually kind of found it weird that The Mummy Returns & Van Helsing have complete releases but not Cradle Of Life, since they all came out around the same time and all sound quite similar to one another. I actually consider all three to be a kind-of "trilogy" for Silvestri, they all work together really well. Kind of like how Dinosaur, Atlantis & Treasure Planet make a "trilogy" of sorts for Newton Howard.

I’ve always wondered about this, too. All of those scores were released behind the scenes, why is Tomb Raider still missing? Doesn’t feel logical.

Well, it s just a point of view of course, but i think the reprise of VH theme at the end of "Reunited" is really good, as is the nice little piece Silvestri composed for the first part of th eend credits. I didn’t want to include the second part cause it is just a montage of things heard and repeated lots of time before, and i should have sacrificed prior material to include this. Voil� 🙂

Well, it s just a point of view of course, but i think the reprise of VH theme at the end of "Reunited" is really good, as is the nice little piece Silvestri composed for the first part of th eend credits. I didn’t want to include the second part cause it is just a montage of things heard and repeated lots of time before, and i should have sacrificed prior material to include this. Voil� 🙂

Exactly. Well said.

Since I’ve never heared this score before, I guess I’m lucky to get the best possible version from the beginning…. the little things in life that make us happy…. thanks !

Thanks to Fink and Sonic for this new improved edition!

I’ve loved this score from the moment it was released. I tried to watch the film, couldn’t make it through a half hour even. I was really excited to get the 2 disc version you did before, but was surprised to find myself listening to the official release more often. I guess, every once in awhile, all the music can actually be too much. So now I’m really looking forward to this version – more than the official release but minus the boring stuff. Thanks so much for doing this and sharing! You really do some wonderful work! If you don’t do this for a living, you should be.

Oh boy, what a treat, guys!! Can’t wait to reexplore this score.

Did a rough count of the runtime, seems to be about 78 minutes, don’t remember how long your original edit was, guessing quite a bit got cutout since it was 2 discs. But I do remember from when I first heard the sessions years and years ago that there were lots of quiet bits, so I trust both of your judgments on the cuts. As much as I generally tend to prefer complete, chronological edits of film scores…. sometimes its a bit much.

thank you

Thank you for the new versions!

Somehow along the way I missed this but would love to hear the new version – can anyone share an active link ? Seems like they’re all dead

Somehow along the way I missed this but would love to hear the new version – can anyone share an active link ? Seems like they’re all dead

Seconded!

Yes, if anyone has this a re-up would be greatly appreciated.

Can someone re-up this? Thank you very much.

ALL these links are DEAD.Can someone PLEASE upload WORKING ones???

Here you go folks, in mp3 320: https://mega.nz/#F!sxwQkZqZ!TXmzZgPOlr4PUNP2nEP0tA
I’ve also included the extended End Credits suite.

Here you go folks, in mp3 320: https://mega.nz/#F!sxwQkZqZ!TXmzZgPOlr4PUNP2nEP0tA
I’ve also included the extended End Credits suite.

Thank you very much for this 🙂 Encoded with a very recent LAME version, very good!

But I have a question: why did you fade out "Reunited"?

Thank you very much for this 🙂 Encoded with a very recent LAME version, very good!

But I have a question: why did you fade out "Reunited"?

Oh right, sorry I forgot about that.
I did it because I didn’t like the fact that you added The "One Year Later" cue at the end of it, which I talked about in an earlier post. I did my best to fade it out nicely but I’m not very good at this. I just prefer the original version.
By the way Sonic, I’ve been meaning to ask you, are you working on a Deluxe Edition of The Last Jedi?
I just want to know if I should download one of the other complete scores or wait for yours? 🙂

Here you go folks, in mp3 320: https://mega.nz/#F!sxwQkZqZ!TXmzZgPOlr4PUNP2nEP0tA
I’ve also included the extended End Credits suite.

Thanks for the re-up.

Oh right, sorry I forgot about that.
I did it because I didn’t like the fact that you added The "One Year Later" cue at the end of it, which I talked about in an earlier post. I did my best to fade it out nicely but I’m not very good at this. I just prefer the original version.
By the way Sonic, I’ve been meaning to ask you, are you working on a Deluxe Edition of The Last Jedi?
I just want to know if I should download one of the other complete scores or wait for yours? 🙂

Ah, that makes sense! You could replace my version with the version from the OST. Aside from the added "One year later" (and the sound) it’s not different.

And no, I’m not working on Last Jedi right now. I don’t have an editing guide, the sound quality of the complete score sucks so I will need to edit the HiRes OST, the FYC and the complete score. Because of that I’m probably not gonna do it, I just don’t know what to edit where.

The difference in quality is exactly why I just didn’t replace it with the one from the ost, yours sounds much better!
I see, that’s too bad, I was hoping you were secretly working on it 🙂
I’ll try one of the other complete edits then.

The difference in quality is exactly why I just didn’t replace it with the one from the ost, yours sounds much better!
I see, that’s too bad, I was hoping you were secretly working on it 🙂
I’ll try one of the other complete edits then.

And edit of mine will come, I just don’t know when 😉

A new Deluxe Edition from the Sonic and Fink! What else can I say, except: Juhu! 🙂 And that new back cover looks damn nice.

Where can I download the covers of this score?

A new Deluxe Edition from the Sonic and Fink! What else can I say, except: Juhu! 🙂 And that new back cover looks damn nice.

Huh? Darl, we did this more than half a year ago 😀

lol aight I need coffee 😉

And edit of mine will come, I just don’t know when 😉

Now you’re talking! 🙂
I don’t mind waiting if I know it’s coming eventually.

Here you go folks, in mp3 320: https://mega.nz/#F!sxwQkZqZ!TXmzZgPOlr4PUNP2nEP0tA
I’ve also included the extended End Credits suite.

Thanks for the re-up and I hate to be That Guy, however…any chance we can get the version of Reunited without the fade out? 😀 Adding the version from the OST kinda works, but the sound isn’t quite the same :p It’d be nice to have the version SA posted.

And great idea including the end credits , many thanks ! 🙂

Thanks for the re-up and I hate to be That Guy, however…any chance we can get the version of Reunited without the fade out? 😀 Adding the version from the OST kinda works, but the sound isn’t quite the same :p It’d be nice to have the version SA posted.

And great idea including the end credits , many thanks ! 🙂

You’re welcome!
Sorry man, I deleted it.

Anyone got a FLAC re-up of the Hi-Res edition?

THANKS!

Can someone re-up CD (16/44.1) & HiRes (24/88.2) versions?

Thank You So much ！！！

Thanks for the Re up. Also, same here can someone re-up CD (16/44.1) & HiRes (24/88.2) versions. Thanks also.

Thanks for the Re up. Also, same here can someone re-up CD (16/44.1) & HiRes (24/88.2) versions. Thanks also.

Seconded.

Will also ask if someone can re-up FLAC versions