It’s time for another update. This time I tackled The Perfect Storm. The Deluxe Edition from 2014 was good, I just loved the music. But the sound… well, JHFan said he would increase treble when listening to my version. Over the years, others said the same. Guess what, all of them were right 🙂 So for the 2017 update I increased treble as well – but not only that. I also improved the stage further, this time the difference to the OST is huge: much more organic, wider with more depth. I only post updates of my Editions when sonic improvements merit them; in this case the differences between those two versions are so strong that this may serve as a beacon. For pulling a George-Lucas 😀 Anyway, the resulting sound is soooo good. Crisper, more dynamic, more colourful. In other words: closer to perfection.
As you can see above, I also updated the cover. Initially I only wanted to exchange the logos with the ones I designed / altered in 2015. In the end I barely kept anything from the old cover, I did a complete re-design and also added a second cover. Please note that the HiRes option comes with its own cover. Since you cannot burn it to CD – who does this anymore? – it doesn’t need the inlay, CD and back covers. So it only comes with the front covers and a "tracklist-picture". The CD and MP3 versions still contain the whole cover set.
Concluding, I would like to say that I’m flabbergasted. Why didn’t I do this sound the first time? How couldn’t I? This score is a masterpiece, it deserves nothing else. Yes, it is a masterpiece. Musical flow is so good, the harmonies and counterpoint are complex and clever. Yes, there are the typical Hornerisms. But who cares when they are presented so well?
P.S.: I also added two new pieces. They basically derive from the single release of the Mellencamp-song. I finally wanted to add the song, after all, it was penned by Horner. And the piece "Longliners" serves as an engaging epilogue for the score experience. Otherwise, the musical contents have not been changed (Track combinations, etc.). So, enjoy this wonderful score 🙂
Original 2014 text:
Half a year ago JHFan (http://forums.ffshrine.org/members/jhfan-271489) posted the (almost) complete score (Thread 134698) for ‘The Perfect Storm’ with Amanda (http://forums.ffshrine.org/members/amanda-444356) providing the source files for it. His version really is a splendid listening experience. I have to commend him on his fantastic editing work, it�s simply brilliant. Everyone knowing his wonderful set will also know that he combined tracks from the OST with parts from the sessions as provided by Amanda. While the editing is seemless, the sound is slightly different (for one, most non-OST pieces lack 2 dB of bass while treble is 2.5 dB too loud over several octaves) – so that�s where I came in. I attempted to correct these differences as best as possible… I wasn�t fully successful but I managed to bring them closer to OST sound quality.
The overall sound has been changed as well: the OST has always been one of the better sounding Horner soundtracks… but as was typical for his music from that era the sound lacked mids. Furthermore, it always felt extremely constricted stage-wise. I was able to rectify this completely, it�s now sounding more open and spacious than ever (I can now hear flutes I�ve never heard before, instruments that were drowning in the dense mix previously). The whole sound desperatley cried out for crispness and differentiation, they�re present now as well. It sounds different for sure, yet I was able to keep its typical voluptuous character. I also corrected gain differences between tracks, made soft parts louder by 1.5 dB in order to improve their audibility. In short, I love its sound!
The alternates JHFan included on his version are gone on my Deluxe Edition. For me, they weren�t so alternate and since this score is already very long I felt that I didn�t want to include them. The awful song by John Mellencamp is gone as well, I always had the feeling that it was done to cash in on the Titanic-craze. For these tracks, please refer to the original set by JHFan. Some tracks were crossfaded into each other when the opportunity presented itself (for example: ‘Coming Home From The Sea’ now segues into ‘Murph and Son’). I did this to improve the flow even more. If I succeeded or not is entirely up to you.
The cover is – again – nothing special, I just took the OST cover design as an inspiration and updated it slightly. I like it, others may disagree, but it�s serviceable.
Please note: should JHFan not like my set and demand that it�ll be removed, I will do it. After all, I haven�t asked him if I�m allowed to do it so it�s his prerogative.
Otherwise, have fun! 🙂
Tracklist:
Disc 1:
1. Coming Home From The Sea 10:57
2. �The Fog�s Just Lifting…� 4:12
3. �Let�s Go, Boys� 8:56
4. Sable Island 2:20
5. �Fish On!� 2:40
6. No Success 7:54
7. To The Flemish Cap 7:14
8. The Perfect Storm 3:43
9. Air National Guard To The Rescue 8:49
Disc 2:
1. Small Victories 10:04
2. Ditching The Chopper 4:20
3. The Decision To Turn Around 6:30
4. Coast Guard Rescue 10:02
5. Rogue Wave 2:38
6. The Loss Of The Andrea Gail 3:56
7. �Is There Anything Better In The World?� 3:40
8. �There�s No Goodbye… Only Love� 7:27
10. Yours Forever and End Titles 6:46
11. Longliners (Single Suite) 4:04
Links HiRes:
https://www.mirrorcreator.com/files/1F23YIGT/AlmostTitanic.part1.rar_links
https://www.mirrorcreator.com/files/07MU8BPL/AlmostTitanic.part2.rar_links
Links CD Version:
https://www.mirrorcreator.com/files/1USXAE2O/NotTitanic.part1.rar_links
https://www.mirrorcreator.com/files/0I5TDDMN/NotTitanic.part2.rar_links
Link MP3:
https://www.mirrorcreator.com/files/0ZMVPJBO/DefinitelyNotTitanic.rar_links
Password for all: HalloweenNor’easter
Attention:
Should the files be deleted by the respective hoster, I won�t upload them again – someone else has to do it
Ah, I see. You’ve combined a couple cues. Cool. I look forward to listening.
Ah, I see. You’ve combined a couple cues. Cool. I look forward to listening.
Yes, this is JHFan’s edit – complete as he did it (minus the changes I did to it of course).
———- Post added at 09:55 PM ———- Previous post was at 09:54 PM ———-
Thanks a lot Sonic! A truly great Horner score in my opinion, and your work will undoubtedly enhance the full appreciation of this music 🙂
It really IS one of the greatest Horner scores, isn�t it? I feel that it�s very underrated… it would deserve rightful appreciation.
———- Post added at 09:56 PM ———- Previous post was at 09:55 PM ———-
Thank you so much! Again this deserves a try and looking forward to hear your editing magic.
I know I�ve said it before… but I fucking love your avatar! 😀
I’m actually very interested to hear this.
There was always going to be a discrepancy between the session material and the OST, because the session cues were exactly that – sessions. Mixing wasn’t 100 percent even though the performances themselves of the unreleased material was 100 percent while the session versions of album cues were full of flubbed notes and even missing instruments….It was almost as though the sessions were made up of finalized, mastered unreleased cues and unfinished recordings of the album cues. I included the alternates for completeness’ sake but it’s totally understandable that you removed them…I just love hearing differences in performances (especially the electric guitar / horn / percussion fanfare of "To The Flemish Cap") but it’s not everyone’s cup of salt water. 🙂
I’m just grateful this was so highly enjoyed because it was THE MOST FUN I have ever had – it was literally a DREAM come true to get the sessions for editing into an album. If you’ve improved on it, than all the better!
Hell yeah my friend.
I wish it was complete…one cue missing from the score but its alternate is a part of "Let’s Go Boys" as I mentioned in my original thread.
Cheers. 🙂
(Personally, I prefer my own cover I made for the complete which was also based on the OST but it’s such a great image and I wanted to keep it as simple as I could…downloading this now.)
I’m actually very interested to hear this.
There was always going to be a discrepancy between the session material and the OST, because the session cues were exactly that – sessions. Mixing wasn’t 100 percent even though the performances themselves of the unreleased material was 100 percent while the session versions of album cues were full of flubbed notes and even missing instruments….It was almost as though the sessions were made up of finalized, mastered unreleased cues and unfinished recordings of the album cues. I included the alternates for completeness’ sake but it’s totally understandable that you removed them…I just love hearing differences in performances (especially the electric guitar / horn / percussion fanfare of "To The Flemish Cap") but it’s not everyone’s cup of salt water. 🙂
Exactly. The mixing on those session cues is indeed strange… I suspect that the tracks for the OST have been mixed differently to make them sound the way they do. Reverb sounds different, on the session cues violins sound far away and tinny. Something I wasn�t able to correct. Furthermore, treble sounds… almost ‘hissy’.
I’m just grateful this was so highly enjoyed because it was THE MOST FUN I have ever had – it was literally a DREAM come true to get the sessions for editing into an album. If you’ve improved on it, than all the better!
It was a fun for me as well. Never expected it. If I improved it or not entirely depends on your opinion because you�re the expert 🙂
BTW, did you learn this stuff? Have to say it again: your edits are remarkable. I couldn�t pinpoint them if my life depended on it. While mastering I whistled along only to be fooled the next minute because suddenly the piece took an unexpected turn I�ve never heard before. And I couldn�t hear the edit. Perfect!
I wish it was complete…one cue missing from the score but its alternate is a part of "Let’s Go Boys" as I mentioned in my original thread.
Cheers. 🙂
See it this way: it�s roughly 98% complete. I�d say that this is enough for the time being 😉
@ SonicAdventure: I got a nice little laugh out of what you did with the file names here and over on your Titanic Thread. hehe 🙂
Without JHfan this wouldn’t have been possible so many thanks to him also! Thanks and bravo to the both of you!
@ SonicAdventure: I got a nice little laugh out of what you did with the file names here and over on your Titanic Thread. hehe 🙂
xD You�re the first to notice… actually, I wasn�t able to think of something funnier so I had to come up with this… I myself think that it�s quite a bore. But I�m glad that you like it.
———- Post added at 11:46 PM ———- Previous post was at 11:44 PM ———-
It is a hugely underrated score, one of my favorites. I listened to it non stop when it was released. I did a lot of drawing back then. That, and this score were truly my lifelines. I implore everyone to give the expanded edition at least one listen. The full -ish score is much more rounded and rewarding than the OST, but then, what else is new?
It took me much longer to appreciate it. I thought at first ‘Blegh, another Titanic rip-off’… how stupid I�ve been in hindsight. It really is a wonderful score. After all these years I think that it�s my favourite Horner score, even better than Titanic (and that is saying a lot because IMO that one deserved every award it got).
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I know I�ve said it before… but I fucking love your avatar! 😀
My face just turned red all over! lol… Thanks sweety!
Without JHfan this wouldn’t have been possible so many thanks to him also! Thanks and bravo to the both of you!
Really? Phew, I�m glad… I�ve been listening to it a lot since yesterday and I�ve thought since finishing it that I could have added a tiny bit more treble energy. Ah, crap… maybe I�ll provide mp3s after all.
But I second it: all the thank-you’s go to JHFan and Amanda. They made it possible… and I�m still orgasmic about those edits of JHFan. It�s rare that one encounters such remarkable quality in a community where most people are like illiterate people from the stone age (this isn�t meant to be arrogant, I�m just referring to the numerous bootlegs on CD which have been treated by people pressing some ‘magic’ DSP button and then expecting it to sound much, much better when all it does is sounding like crap).
BTW, did you learn this stuff? Have to say it again: your edits are remarkable. I couldn�t pinpoint them if my life depended on it. While mastering I whistled along only to be fooled the next minute because suddenly the piece took an unexpected turn I�ve never heard before. And I couldn�t hear the edit. Perfect!
Everything I’ve ever done was by simple trial and error and a LOT of listening closely and following my instincts when it comes to musical timing, which is a challenge because I’m musically illiterate…I can hear when something is ‘off’ when it comes to timing though.
There was one section of a particular cue I had a lot of trouble with and even now I can still hear where the edit is….but I ain’t sayin’ where 😉
I’ll be listening to this in a bit, I had taken a break from the score since the snow started falling because for me music and creating the right listening atmosphere go hand in hand and listening to this from September through to early November when the weather changes (love those ominous clouds like in the film) and occasional storms was a perfect match, also that’s how I listened to the OST for so many years anyway.
(Edit after reading the remainder of the thread)
This score has never sounded anything at all like Titanic so I couldn’t ever make any comparison.
If I take the time to make my edits (like Avatar) sound as they do, it’s because I love Horner’s music THAT much.
and the music….i�ve got to find my dark sunglasses.
No it’s not a film version because most film edits are garbage and wouldn’t have a place on any sort of album. Most, not all. It’s a case-by-case issue.
That’s why when I did "Glory", "Legends Of The Fall" and "Bicentennial Man", I only used those films’ isolated scores for unreleased cues, but used the album cues everywhere I had to in order to avoid film edits. Film edits may re-create a score as heard, but they are insulting to a composer’s true intention because their writing is often ruined by them.
Imagine cutting out lines of a song or sentences of a book to fit something else…it doesn’t work and is incomplete.
Oh no… I did that two years ago using the Academy Promo. Don�t intend to do it again. Just don�t like the score. Actually, both scores.
James Horner = Irish Fan. I know it�s an old joke and I know that Braveheart is about a Scotsman… but oh, these tired, Uilleann Pipes… I�m so glad they�re missing in ‘The Perfect Storm’.
Bravo sirs, bravo.
It seems only cultural influences on scores are what people tire of but the basics that make up an orchestra are always in favor…unless it’s a Zimmer score of course. In that case it’s all synthetic.
There’s no reason at all for any kind of Irish influence on a film like The Perfect Storm. The score doesn’t sound like Titanic at all, the only things the two films have in common is they both involve the sea.
Critics like to say that he used the "wrong" instruments for Braveheart, ignoring the simple fact that Horner’s choice to use Uilleann pipes was deliberate musical decision rather than one of cultural authenticity. Imagine the melodies of that score played on Highland pipes….it just wouldn’t work.
Many of the drums used in the score (and many other scores by many composers) are Japanese, as is the Shakuhachi flute heard in many of Horner’s scores like the Spanish / Flamenco Zorro scores… No one would bat an eye at those because musically, they work to convey the atmosphere needed. Horner probably uses more ethnic flavors in his music than most film score composers do. The man knows his stuff and knows that to convey the right approach cinematically, one doesn’t need to restrict themselves to staying exclusively within the confines of the instrumentation of the culture being represented on screen.
There’s no reason at all for any kind of Irish influence on a film like The Perfect Storm. The score doesn’t sound like Titanic at all, the only things the two films have in common is they both involve the sea.
Sorry that I�m answering so late, I�m afraid I didn�t see your post until right now. You�re correct of course, The Perfect Storm doesn�t have any relation to Irish culture. But there are – as usual – some hints to other works of his. One of the themes from Titanic is hinted at, Alien (or the Gayne Ballet) receives an almost full quote. Then there�s of course the four-note-motif from Willow… but that�s sort of his action-trademark. Apart from that I haven�t noticed anything… well, maybe Apollo 13… but I remember you writing that he copies another one of his works almost verbatim in an action piece? Whatever, I don�t mind that he copies his own compositions.
You know, a friend of mine and I joked some years ago about Avatar… we imagined James Horner at a loss when composing music for a certain scene. He asks himself ‘What to do?’ – and then inspiration strucks: he grabs into a secret shelf that is marked ‘Pre-composed music for all occasions’, takes out several sheets of note paper which are for example titled ‘Love scenes’ and copies, interpolates or adapts the notes written there for the new scene. We thought it was very funny 😀
Many of the drums used in the score (and many other scores by many composers) are Japanese, as is the Shakuhachi flute heard in many of Horner’s scores like the Spanish / Flamenco Zorro scores… No one would bat an eye at those because musically, they work to convey the atmosphere needed. Horner probably uses more ethnic flavors in his music than most film score composers do. The man knows his stuff and knows that to convey the right approach cinematically, one doesn’t need to restrict themselves to staying exclusively within the confines of the instrumentation of the culture being represented on screen.
Yes… the Shakuhachi. IMO it has been severely overused by him. It�s like Jerry Goldsmith using the Borg synthesizer for a suspense scene for the completely unrelated ‘The Ghost and the Darkness’… it rips one out of the movie only to squeeze you into another, possibly unrelated one. As a listener, I usually connect particular instruments to a particular score someone composed, or for a movie, especially, if those instruments are readily recognizable and are used within a very specific, ‘custom-tailored’ context. For example, I connect the Shakuhachi with Jumanji (where it was a perfect fit). And then it comes along again in Flightplan and whatnot… and every time I feel a bit like I�m listening to a score embedded within another, unrelated score (in case of Jumanji / Flightplan Kirsten Dunst trying to finish a game while at the same time Jodie Foster tries not to go mad). Or let�s take The Perfect Storm again: he used one of the synthesizers from Titanic – while it works extremely well in Perfect Storm again I couldn�t help but hearing a faint shadow of Oscar-awarded music.
To give this some perspective, all of this is complaining on a very high level. I still think that he�s a very good and versatile composer. In fact, right now I�m working on a Deluxe Editon for ‘The Amazing Spider-Man’.
Actually, it was Jim Cameron himself who got Horner to make use of his back catalogue, and they wanted to do what Horner always does which is take that sound and go further with it:
Avatar Sound Panel – SoundWorks Collection Exclusive on Vimeo (http://vimeo.com/9480589)
This is a 47 minute panel discussion on creating and editing the sound mix for AVATAR.
In this video Cameron mentions some of Horner’s scores used as temp like "Apocalypto" and "Where The River Runs Black" and having to hold Horner back from taking that sound too far, instead scaling it back with more familiar orchestral music.
Yes… the Shakuhachi. IMO it has been severely overused by him. It�s like Jerry Goldsmith using the Borg synthesizer for a suspense scene for the completely unrelated ‘The Ghost and the Darkness’… it rips one out of the movie only to squeeze you into another, possibly unrelated one. As a listener, I usually connect particular instruments to a particular score someone composed, or for a movie, especially, if those instruments are readily recognizable and are used within a very specific, ‘custom-tailored’ context. For example, I connect the Shakuhachi with Jumanji (where it was a perfect fit). And then it comes along again in Flightplan and whatnot… and every time I feel a bit like I�m listening to a score embedded within another, unrelated score (in case of Jumanji / Flightplan Kirsten Dunst trying to finish a game while at the same time Jodie Foster tries not to go mad). Or let�s take The Perfect Storm again: he used one of the synthesizers from Titanic – while it works extremely well in Perfect Storm again I couldn�t help but hearing a faint shadow of Oscar-awarded music.
But that’s where I see things differently, because to me they are no different than using piano, trumpet, and other oft-used instruments.
The Shakuhachi wasn’t in "Flightplan", it was a Gamelan flute. Here is my YouTube upload of Horner’s recording the score segment from the Flightplan DVD:
James Horner – Scoring FLIGHTPLAN – YouTube (http://www.youtube.com/watch?v=zpeU2QPza0A)
You can see Horner’s friend and panpipe / flute player Tony Hinnigan performing the instrument.
To give this some perspective, all of this is complaining on a very high level. I still think that he�s a very good and versatile composer. In fact, right now I�m working on a Deluxe Editon for ‘The Amazing Spider-Man’.
I did the same thing for Spider-Man, but I didn’t feel a need to alter its sound mix. I just gave the alternates their proper place and edited the main titles to give them a proper ending rather than trailing off or being cut off.
I typically avoid crossfading cues unless I have a really good reason for it (my "Hallelujah Mountains" cue from Avatar was crossfaded because it played better as one piece of music rather than three) or if I have so many cues I want to limit the sheer number (did that with Karate Kid). I didn’t upload it because I didn’t see much point, but I certainly could along with Karate Kid.
I also keep all alternates because I enjoy them, I like the differences, even if they are subtle. Also I sometimes use alternates in the main program.
I didn�t know that, thanks for the information!
The Shakuhachi wasn’t in "Flightplan", it was a Gamelan flute. Here is my YouTube upload of Horner’s recording the score segment from the Flightplan DVD…
Didn�t know that either – and that is an interesting video. Strange, I have the DVD but it seems I haven�t watched that feature. I also watched the video of Karate Kid you provided… is James Horner ill? He looks frighteningly haggard in the 2010-video compared to five years before.
I did the same thing for Spider-Man, but I didn’t feel a need to alter its sound mix. I just gave the alternates their proper place and edited the main titles to give them a proper ending rather than trailing off or being cut off.
(…)
I also keep all alternates because I enjoy them, I like the differences, even if they are subtle. Also I sometimes use alternates in the main program.
The sessions for Spider-Man are virtually unlistanable to my ears. Extremely long pauses before, after and within takes, soft parts are so soft that they don�t stand a chance against loud parts… This is of course the way an orchestra sounds but nonetheless it doesn�t make a pleasant listening experience. And after all, it�s trough listening to the music (a.k.a. being able to actually hear it) that we approach the composition. Therefore I�ve copied the dynamic alterations done for the OST as closely as possible (they were done via automated fader – as are mine). Regarding the sound, the OST is one of the best sounding scores released during the past few years – yet I�ve always felt that it sounds a bit too flat and too distant. I�ve changed that as well. EQing it was as easy as it can be: the sessions were sounding exactly like the OST, I couldn�t find any differences. I also crossfaded half of the tracks, it just sounds more complete and proper. If I want to analyze it, I�ll have a look at the score sheets.
The sessions for Spider-Man are virtually unlistanable to my ears. Extremely long pauses before, after and within takes, soft parts are so soft that they don�t stand a chance against loud parts… This is of course the way an orchestra sounds but nonetheless it doesn�t make a pleasant listening experience. And after all, it�s trough listening to the music (a.k.a. being able to actually hear it) that we approach the composition. Therefore I�ve copied the dynamic alterations done for the OST as closely as possible (they were done via automated fader – as are mine). Regarding the sound, the OST is one of the best sounding scores released during the past few years – yet I�ve always felt that it sounds a bit too flat and too distant. I�ve changed that as well. EQing it was as easy as it can be: the sessions were sounding exactly like the OST, I couldn�t find any differences. I also crossfaded half of the tracks, it just sounds more complete and proper. If I want to analyze it, I�ll have a look at the score sheets.
Horner’s weight has gone up and down over the years but I don’t believe he’s sick or anything. He looked fine at the Hollywood in Vienna tribute to him back in October. Lots of photos and video from that online.
When I say I didn’t alter the sound mix, I meant more what you you did to "The Perfect Storm" by adjusting the midrange frequencies and bass. My customs for Spider-Man and Karate Kid are of much better overall volume than the sessions.
Pauses are something I generally leave alone because like it or not, they are a part of the composition (one example being the pause in the shark attack music in Perfect Storm, another example being a pause in the Oscorp music early in Spider-Man…those are dramatic pauses and actually match the on-screen action perfectly because they were written that way) but I did shorten the pause in the ‘Looking for Mr. Han’ cue on Karate Kid because it was just far too long.
When I say I didn’t alter the sound mix, I meant more what you you did to "The Perfect Storm" by adjusting the midrange frequencies and bass. My customs for Spider-Man and Karate Kid are of much better overall volume than the sessions.
Pauses are something I generally leave alone because like it or not, they are a part of the composition (one example being the pause in the shark attack music in Perfect Storm, another example being a pause in the Oscorp music early in Spider-Man…those are dramatic pauses and actually match the on-screen action perfectly because they were written that way) but I did shorten the pause in the ‘Looking for Mr. Han’ cue on Karate Kid because it was just far too long.
Ok, let�s hope that he�s indeed not sick. Would be a shame.
Pauses are indeed part of the composition. It�s something that goes as far back as Beethoven who incorporated silence as well. However, there�s a difference between on-screen-silence and score-on-its-own-silence. When on its own, the silence on the score needs to be removed or shortened as it has been removed from the movie it was written for (the visual element is missing; therefore, the reason for the silence is missing as well (if the reason cannot be found in the music itself)). For that reason, I�ve shortened pauses for Spidey. Exactly like it was done on the OST. Two to three pauses were removed entirely (pauses that would have appeared by combining two tracks). But apart from that I can say that my Edition will be extremely close to the OST.
The link "http://www.mirrorcreator.com/files/1U6UQGDV/NotTitanic.part1.rar_links" is dead can you repost the link please for complete my download
Thanks for all
repacked into a single file
download (https://mega.co.nz/#!LkBAHCzA!BB5bm2PTYx68PaCgtAFopCA9gqlOCYJCnxeF-bQC2QY)
pass: SayThanks
repacked into a single file
download (https://mega.co.nz/#!LkBAHCzA!BB5bm2PTYx68PaCgtAFopCA9gqlOCYJCnxeF-bQC2QY)
pass: SayThanks
Thanks a lot for the link!
Thank you and, of course, Sonic for this marvelous share.
You need to clear some message space, dear. I want to write you 😉
repacked into a single file
download (https://mega.co.nz/#!LkBAHCzA!BB5bm2PTYx68PaCgtAFopCA9gqlOCYJCnxeF-bQC2QY)
pass: SayThanks
Many thanks for the re-up and to SonicAdventure!
You’re right of course. But I felt that participation is vital for a poll so I had to do what I myself despise: spamming of the worst kind.
I absolutely agree!!!
SonicAdventures for the thread!!!
&
ostgems for the re-up!!! 🙂
repacked into a single file
download (https://mega.co.nz/#!LkBAHCzA!BB5bm2PTYx68PaCgtAFopCA9gqlOCYJCnxeF-bQC2QY)
pass: SayThanks
Thanks for the re-up ostgems 🙂
And thanks to Sonic for the always amazing Deluxe Edition 😀
There’s a "pop" at 0:10 of track 9. Air National Guard to the Rescue. I checked the original session files posted by JHFan and the artefact is there too. Unfortunately, I also sometimes find those in commercial releases. Is there some audio processing magic that can be done to erase these things, like "dust removal" features in photo software? I’d love to hear about it, especially if it could be applied to Audacity.
There’s a "pop" at 0:10 of track 9. Air National Guard to the Rescue. I checked the original session files posted by JHFan and the artefact is there too. Unfortunately, I also sometimes find those in commercial releases. Is there some audio processing magic that can be done to erase these things, like "dust removal" features in photo software? I’d love to hear about it, especially if it could be applied to Audacity.
First things first: a "pop" is usually removed with a Declicker, I believe Audacity contains one. And if it doesn�t you can add it: Audacity Forum ? View topic – Updated De-Clicker and new De-esser for speech (http://forum.audacityteam.org/viewtopic.php?f=42&t=79278)
But the event you refer to on "Air National Guard to the Rescue" isn�t a pop or a click, it�s the orchestra and it sounds like one of the violinists hitting something accidentally with his bow. If I would have perceived this as a pop, I would have removed it. But for me, tiny errors or noises made by an orchestra turn a recording into a living being so I naturally kept it.
Otherwise, you won�t get an argument from me as I�m with you on the length for scores (if they are worth it).
Good to know, thanks. Audacity’s "Click Removal" indeed doesn’t want to work on that error. I find them very distracting, but you’re right: it’s a good reminder that it is all in the end just a recording of real human beings playing the music. It’s easy to forget when you’re used to the "cleanliness" of CDs (I just can’t listen to vinyl because of all the noise on those, but that’s another topic entirely).
I personally like my complete scores to be in their original separate cues (no crossfades or compilations), and in chronological order. Can people recommend which version they think I’d be most happy with?!
I personally like my complete scores to be in their original separate cues (no crossfades or compilations), and in chronological order. Can people recommend which version they think I’d be most happy with?!
If you want original separate cues in chronological order with no crossfades and such, then you should utilize mine. If not, utilize this version which used mine as a source.
I ended up remaking my edition, but I’ve long decided not to upload anything like that anymore. I don’t see any point.
I ended up remaking my edition, but I’ve long decided not to upload anything like that anymore. I don’t see any point.
That’s useful to know – thanks, JHFan. Do you have a link to your remade edition? What changes did you make?
I made a few minor editorial changes to volume, clarity, shortened one alternate, and overall it’s better and exactly as I wanted it to be now.
I did the same thing with my version of "Avatar" as well, but in both cases I did NOT upload them here or anywhere else, because I just saw no point.
Many people prefer the versions made after mine, or that used mine as a source, so I figure those versions (like this one this thread is for) will be what everyone really wants over mine anyway.
I did the same thing with my version of "Avatar" as well, but in both cases I did NOT upload them here or anywhere else, because I just saw no point.
Many people prefer the versions made after mine, or that used mine as a source, so I figure those versions (like this one this thread is for) will be what everyone really wants over mine anyway.
Could you send me a link? Pretty please?
I’d have to upload it, but I am heading to work in a few minutes so it won’t be until later tonight.
Yay! No problem at all, no hurry. Whenever is convenient. 🙂
I agree with JHFan, his version will be the one you�ll like the most. Apart from the suites I created, the difference between his set and mine isn�t that big, really. I may have better sound but even that comes down to personal preference. His version sounds like the OST – and that sounded very good already. So both versions are safe to use but his will be what you want to listen to.
———- Post added at 01:54 AM ———- Previous post was at 01:51 AM ———-
Many people prefer the versions made after mine, or that used mine as a source, so I figure those versions (like this one this thread is for) will be what everyone really wants over mine anyway.
Don�t you do that! Without your versions, my versions would be nothing. And without your valuable input (do I need to remind you about ‘Avatar’?) my versions would be – again – nothing. And with James you�ve just had an example that many people prefer the pure versions. Believe me, James isn�t the only one. The private messages I receive about my releases ask about versions lacking crossfades more often than I like to admit.
I had remade AVATAR as well, but I’ve found many aren’t so fond of the ‘kitchen sink’ approach of including everything so there was no point in bothering with sharing it.
What I did with PERFECT STORM was use yours as a source but with a bit of editorial cut and paste to include the individual cues that aren’t crossfaded, and then I added a high-pass filter on it to bring out the details even further (same as with A BEAUTIFUL MIND). I also made a change to a cue ("The Decision to Turn Around") that I always wanted to hear…wasn’t written that way but I just kept imagining it so I made it happen. Very minor thing but it made me happy to hear it.
I had remade AVATAR as well, but I’ve found many aren’t so fond of the ‘kitchen sink’ approach of including everything so there was no point in bothering with sharing it.
What I did with PERFECT STORM was use yours as a source but with a bit of editorial cut and paste to include the individual cues that aren’t crossfaded, and then I added a high-pass filter on it to bring out the details even further (same as with A BEAUTIFUL MIND). I also made a change to a cue ("The Decision to Turn Around") that I always wanted to hear…wasn’t written that way but I just kept imagining it so I made it happen. Very minor thing but it made me happy to hear it.
Even more perfect: James will get a better sound (you might have a point there with the highpass filter), individual cues AND improved cues.
Want some help with Apollo 13? I�ve always wanted to listen to that score but never did. If it�s treated by you, I�d like to give it a chance. Perhaps doing something about the sound? Dear James had a certain taste when it came to sound during the mid ’90s.
Want some help with Apollo 13? I�ve always wanted to listen to that score but never did. If it�s treated by you, I�d like to give it a chance. Perhaps doing something about the sound? Dear James had a certain taste when it came to sound during the mid ’90s.
My new version of PERFECT STORM is slightly lacking in bass which I think I will fix before putting it up. It’s more a personal preference than anything really necessary.
APOLLO 13 has some extreme dynamic range. Many cues are nothing more than a clicking woodblock percussion then you’re hit with cymbals and stingers. The cue ‘Four More Amps’ is notorious for that, but I can’t really complain because so many of his scores from that era give my home theater system a fantastic workout.
———- Post added at 10:30 PM ———- Previous post was at 10:22 PM ———-
Oh, one other thing I did for THE PERFECT STORM was I restored the synth to ‘Storms Collide’. I had to use the film’s sound mix for that.
APOLLO 13 has some extreme dynamic range. Many cues are nothing more than a clicking woodblock percussion then you’re hit with cymbals and stingers. The cue ‘Four More Amps’ is notorious for that, but I can’t really complain because so many of his scores from that era give my home theater system a fantastic workout.
———- Post added at 10:30 PM ———- Previous post was at 10:22 PM ———-
Oh, one other thing I did for THE PERFECT STORM was I restored the synth to ‘Storms Collide’. I had to use the film’s sound mix for that.
I didn�t know there were synths, it has been a long time since I watched my DVD. Apollo 13 always had a reputation for having a rather extreme dynamic range. Personally, I would tone it down a bit, simply because one cannot listen on big home theater systems all the time 🙂
could someone re up a mega link please ?
You believe correctly. I used JHFan’s version you linked to for my version here. JHFan did update his version last year, so it’s even better now.
thanks GCyork for your help. And many thanks thank, Sonicadventure for all your fantastic works and editions.
Anyways, I wanted to make something that would give those of us that are fond of that banner a version with it (I think mine feels pretty accurate to his style). Overall, I kept my style a bit more in line with the official album cover in terms of more naturalistic color work etc, though I tried to add some new life into it, and kept Sonics use of Trajan Pro (which is used for the title itself).
Anywho, hope you guys enjoy, let me know if you have any comments, or if you find some use for this cover. Nothing against Sonic’s fantastic work, just offering an alternate.
Also, in case you guys don’t like the DE banner, I’ll be posting a version without it over on JHFan’s Custom (Thread 134698) page for this score.
Enjoy!
Anyways, I wanted to make something that would give those of us that are fond of that banner a version with it (I think mine feels pretty accurate to his style). Overall, I kept my style a bit more in line with the official album cover in terms of more naturalistic color work etc, though I tried to add some new life into it, and kept Sonics use of Trajan Pro (which is used for the title itself).
Anywho, hope you guys enjoy, let me know if you have any comments, or if you find some use for this cover. Nothing against Sonic’s fantastic work, just offering an alternate.
Also, in case you guys don’t like the DE banner, I’ll be posting a version without it over on JHFan’s Custom (Thread 134698) page for this score.
Enjoy!
Nice! But could you post a link to a bigger version? 600×600 px is pretty small, even for the low-res display of the iPhone.
<a href=’https://postimg.org/image/5lq43vcln/‘ target=’_blank’><img src=’
‘ border=’0’ alt=’postimage’/></a>
Better! 🙂
Because… well, updated 🙂
Thanks a lot .
Do NOT download those and if you feel you have to, do ABSOLUTELY NOT try to open the file. And i’m not blaming sonic in any way, just the download service 🙂
Thanks for a new opportunity to listen to this though 🙂
EDIT:
In fact almost every download host you chose in the selection of links tries to trick you into downloading something else than what sonic is offering. Again, i don’t say anything positive/negative, just stating a fact. And for those about to mention jdownloader – shut up. I shouldn’t have to install an extra app just to be able to download safely.
Do NOT download those and if you feel you have to, do ABSOLUTELY NOT try to open the file. And i’m not blaming sonic in any way, just the download service 🙂
Thanks for a new opportunity to listen to this though 🙂
EDIT:
In fact almost every download host you chose in the selection of links tries to trick you into downloading something else than what sonic is offering. Again, i don’t say anything positive/negative, just stating a fact. And for those about to mention jdownloader – shut up. I shouldn’t have to install an extra app just to be able to download safely.
Thanks for the warning. And that is all very true. I will still mention JDownloader however. Many sites on the net are full of shit: ads, malware, scareware. If there is a possibility to ignore those sites (whose only goal is to make money by scamming you), I will use it. And I’ve said it before: I won’t use Mega. Only one person is needed to report a link – and afterwards the whole account is disabled. Alongside potential other uploads.
———- Post added at 02:12 PM ———- Previous post was at 02:10 PM ———-
Very Nice!! I made a Film Version of Coming Home from the Sea as well. Surprised that wasn’t updated 🙂
I didn’t even know it existed, my bad. Considering that, I think I would have kept the original version anyway, I just love the musical flow 😉
… i hate being the one bringing bad news. Always sounds as if you’re trying to spoil the party. But to be honest, i did say thank you as well 😉
Why would it be? The film version is heavily butchered up. A prime example of BAD music editing in a film. This film itself is full of bad music editing, butchering most of the score.
Thank you very much for your effort, Sonic!
I always prefer "film versions" at least to be available. Also, editing music doesnt bother me. Its all how to tell the story. I dont hear the camaraman complaining when the shots are edited, or the SFX people complaining when their sounds are manipulated to hell. Can be two listening experiences: the Composers Score and the Film Score. Aliens is a perfect example. I think you did that one JH fan with both editions 🙂
I did not do that, those are from the Blu-ray release of ALIENS.
Sound effects editors are the ones doing the editing of sounds AND music in the final mix, and honestly this argument is so old and doesn’t even make sense so…if you like crappy butchered versions of music, more power to you. I prefer what the composer actually took the time to write to indeed tell that story, rather than what someone else decided to do with it.
No, it’s perfectly allright! If I use Mirrorcreator (with the reasons explained by me) then people have every right to complain and warn others of the dangers my choice poses.
———- Post added at 01:31 AM ———- Previous post was at 01:31 AM ———-
Great to see you back in business, darling! 🙂 very nice job on that back cover.
Dear, I was never away 🙂 And thank you. Though praise for the cover is undeserved.
———- Post added at 01:42 AM ———- Previous post was at 01:31 AM ———-
I always prefer "film versions" at least to be available. Also, editing music doesnt bother me. Its all how to tell the story. I dont hear the camaraman complaining when the shots are edited, or the SFX people complaining when their sounds are manipulated to hell. Can be two listening experiences: the Composers Score and the Film Score. Aliens is a perfect example. I think you did that one JH fan with both editions 🙂
Music is different. While Photography is an artform, in a movie it is completely serving this very movie. A score is a different kind of art, more complex, more time consuming. The camera and lighting setup is under direct orders of the director, the DoP does not have that much freedom with setting up the camera and the light. Music provides – usually – more freedom, an artist is able to express him/herself while supporting the movie (hopefully).
Besides, a score is the last writer on a movie. It cements emotion, meaning, expression, etc. Additionally, a movie can work completely without a score (in fact, even completely without sound) but never without the camera. The camera is the extended eye of the director (and the producer) – but the score is not the extended ear of those persons.
And another thing: a score within a movie is different than a score on its own. In the movie, it supports the pictures it was written for. The other side is also true: the picture support the music. Both are working in tandem to create the emotion, the meaning of a scene. On CD the score doesn’t have the picture anymore, it needs to be able to stand on its own two feet. So to have music that was edited to fit a picture (that doesn’t exist anymore) doesn’t create the best of flows for the listening experience. After all, no one hears a score in "analyzing mode", in the end we all want to enjoy the score. Listen to it while we eat, while reading a book, while doing sports, chores, while fucking… endless things. In those cases it need to be listenable. A butchered movie version doesn’t help that goal. IMO 🙂
———- Post added at 01:31 AM ———- Previous post was at 01:31 AM ———-
Dear, I was never away 🙂 And thank you. Though praise for the cover is undeserved.
———- Post added at 01:42 AM ———- Previous post was at 01:31 AM ———-
Music is different. While Photography is an artform, in a movie it is completely serving this very movie. A score is a different kind of art, more complex, more time consuming. The camera and lighting setup is under direct orders of the director, the DoP does not have that much freedom with setting up the camera and the light. Music provides – usually – more freedom, an artist is able to express him/herself while supporting the movie (hopefully).
Besides, a score is the last writer on a movie. It cements emotion, meaning, expression, etc. Additionally, a movie can work completely without a score (in fact, even completely without sound) but never without the camera. The camera is the extended eye of the director (and the producer) – but the score is not the extended ear of those persons.
And another thing: a score within a movie is different than a score on its own. In the movie, it supports the pictures it was written for. The other side is also true: the picture support the music. Both are working in tandem to create the emotion, the meaning of a scene. On CD the score doesn’t have the picture anymore, it needs to be able to stand on its own two feet. So to have music that was edited to fit a picture (that doesn’t exist anymore) doesn’t create the best of flows for the listening experience. After all, no one hears a score in "analyzing mode", in the end we all want to enjoy the score. Listen to it while we eat, while reading a book, while doing sports, chores, while fucking… endless things. In those cases it need to be listenable. A butchered movie version doesn’t help that goal. IMO 🙂
That is beautiful. I agree completely and love it. I also like to "watch" a movie in my head as I am listening to the score, thats why i like film versions. I like the option. Movie music is my favorite music ever. I just love it. It brings me stories and emotions i dont find in other genres. Wonderful words. thank you
I can’t believe I haven’t listened to this new and improved version yet!
I can’t believe I haven’t listened to this new and improved version yet!
Thanks a lot for the re-up! 🙂
Least I can do, Thank You again for all your hard work! 🙂
Here is also flac re-up: https://mega.nz/#!4w93XYpJ!VH-krqb_Yf_OiunWw-8XpOCd30cOrwCtzBlvnwG4z1Q
Not sure if it is 2017 version. But all files were changed in september 2017, so I guess it is. Enjoy it guys 😉
G96
Not sure if it is 2017 version. But all files were changed in september 2017, so I guess it is. Enjoy it guys 😉
G96
This is great, thanks! 🙂
I’ll Rep G96 for the FLAC reup when the system lets me 0 promise 🙂
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