Not one of my usual Deluxe Editions since it doesn�t contain additional music. Reason: every piece I was able to find sounded so bad that I couldn�t salvage it. I tried. To no avail. That leaves me with updated sound and several covers for you to choose from. ‘Legend’ by Jerry Goldsmith has always sounded like crap. A shame, really, because it is such a wonderfully complex score. Everyone knows the story of how this score was scrapped for the American release, so I�ll not mention it again. This release here is my fourth attempt to ‘remaster’ it and it�s the only one of my attempts I like. I have been trying – until now, in vain – since I bought my CD in 1995.
Over the years, countless people have complained about the sound, describing it as shrill, brittle and lifeless. I myself was appalled by the badly mixed, obnoxious synthesizers and by reverb that sounded metallic (and you never ever want that to happen!). While I could hear all of these issues, I didn�t know the reasons and, in turn, how to fix them. Now I do: as it turns out, it�s lack of deep bass, lack of high treble and spatiality problems. Basically, this score has only mids. Lots of it. But, of course, you cannot just switch on a Loudness switch, it needs refinement. My aim was to create something that sounds warmer, dynamic, less brittle, less metallic, with better integrated synths without loosing spatiality.
IMO, I succeeded on all counts. I was able to widen the sound, revealing an extremely well done mix. The added sonority helps the score a lot to sound more appealing while the synths are still strong yet less in-your-face. Precision has improved a lot. Some people won�t like this more contemporary sound, they will not like how much I changed it. To them I say: shut the fuck up, it now sounds like a Goldsmith-score.
The cover was a pain in the ass as well. This is an ’80s movie, so I wasn�t able to find HiRes material for it. I had to fake everything. Take the poster where Darkness is holding the two lovebirds in his hands while sitting within a nightly landscape. The whole picture was painted with the goal of being reproduced for vertical poster designs – which made it impossible to adapt it for square CD covers. So I had to expand it to the sides if I was to use it. That was a difficult job and you can see some artifacts if you look closely. Despite this, I�m happy for once how it turned out. Since I had to prepare several pictures before I could use them for the covers, they are included in the archive as well. You can find them within the folder named ‘Posters’. I actually re-created the two official SilvaScreen designs with the goal of updating them for the year 2015. Well, they still look like shit, my talent doesn�t go all the way it would need to do in order to actually offer an improvement. In any case, just take the pick you yourself like the most. Within the archive, you can find 3 design schemes. Design 1 is based on the colour RED, Design 2 is based soleley on the first SilvaScreen design, Design 3 is based on the recent BluRay.
Some personal thoughts regarding the music itself:
As much as I love it, I�m actually not surprised that this score was rejected. Jerry Goldsmith created something of an oddity because he composed a highly impressionistic score. Impressionism in music is characterized by "colour", achieved through orchestration, harmonic usage, texture, etc. By doing so, he composed a score with so much weight that it is crushing the movie. Which is a surprising in itself, because the movie itself is already very lush and colourful. While this certainly isn�t Goldsmith’s first impressionistic score, it�s one of his most challenging. There�s only one single theme which he brilliantly mutates so often or takes it apart in order to state just fragments that it becomes difficult to connect a certain theme to anything. And, who could forget, the synths. I�m sorry, but they sound incredibly dated, very old-fashioned and a bit tacky. Probably cutting edge 30 years ago… but nowadays? Not so. They add to the lushness of the music itself, turning the score into an overbearing nightmare. Still, it is a wonderful score. Extremely creative, inventive, complex, gigantic and one of the best of his career.
So in case you�ve never heard it before, be prepared to hear music that might appall you at first. My advice to you is: give it time, the score will unveil its beauty after a while. This isn�t an easy score, no. But it�s a rewarding one.
The sound will never be better (unless they find all the multitrack elements and remix it), not one of the available releases (The vinyl edition? Are you kidding? What a waste) is able to sound as good as this one. Not arrogance; it�s a fact. So, enjoy it!
Now A WARNING:
1. Once the links expire, I won�t upload it again, someone else has to do that (maybe by creating mirrors?)
2. Mp3’s: This time, I won�t provide them. Don�t be lazy, create them yourself, it�s incredibly easy.
Tracklist:
1. Main Title / The Goblins 5:49 2. My True Love�s Eyes / The Cottage 5:07 3. The Unicorns 7:56
4. Living River / Bumps & Hollow / The Freeze 7:25 5. The Faeries / The Riddle 4:56
6. Sing The Wee 1:11 7. Forgive Me 5:16 8. Faerie Dance 1:55 9. The Armour 2:20
10. Oona / The Jewels 6:44 11. The Dress Waltz 2:51 12. Darkness Fails 7:31
13. The Ring 6:32 14. Re-United 5:19
http://www.mirrorcreator.com/files/0G721DT4/TangerineNightmare.part1.rar_links
http://www.mirrorcreator.com/files/1BULANMD/TangerineNightmare.part2.rar_links
Pass:
OhNo,ScientologyAgain!
BTW, how is Spider-Man 3 looking? If you’re even doing it, that is. My enjoyment of the trilogy’s scores are on hold until the defects of the source are smoothed over or resolved. It’s such a shame that most Christopher Young bootleg sessions sound like crap.
I like to think the unicorn dream that Replicants have come from this world.
Thanks for the work!
The version I watch is the DC with Goldsmith.
But thanks for trying to get the tin sound out of the score for legend. Its another example of dismissing something that isn’t marketable.
Spidey is sitting like a rock on my harddrive. It�s ready, I�ve already selected the tracks I want to use. But half of them are – audibly – lossy sourced. And that frightens me, I might not be able to remove compression artifacts. Therefore I haven�t tackled it yet. But I promised I�d do it, didn�t I? 😉
———- Post added at 06:06 AM ———- Previous post was at 06:05 AM ———-
I like to think the unicorn dream that Replicants have come from this world.
And now you revealed to everyone that Harrison is a Replicant, too. Ts ts 😉
———- Post added at 06:08 AM ———- Previous post was at 06:06 AM ———-
I disagree with your assessment on the music of legend. Horner, Williams, and Zimmer are the masters of scores the crush the picture. Bombast and painting with a broad brush is their stock and trade. Goldsmith is a whole other animal.
But thanks for trying to get the tin sound out of the score for legend. Its another example of dismissing something that isn’t marketable.
Jerry composed a few scores that crush their respective movies, IMO. Legend is one of them for reasons of sonic colour, The Final Conflict another. All brilliant on their own, but especially the latter seems to have been written for another picture. The timid, little movie simply doesn�t support the gigantic score.
As long as you don�t force a deadline on me, you can do pretty much what you want 😀
Your deadline is………………eventually.
It wasn’t that Scott rejected Goldsmith’s work, as much as he was pressured by Universal after a poor US test screening to use a more modern (i.e., rock) score. Goldsmith’s scoring also didn’t fit the re-editing Ridley Scott made for the shorter US cut, so it was quickly re-scored by Tangerine Dream. The International cut of "Legend" distributed by 20th Century Fox always retained Goldsmith’s score.
We are into unicorns a bit, aren�t we? 😀
What about the last Unicorn? Christopher Lee spoke King Haggard…
———- Post added at 04:15 PM ———- Previous post was at 04:13 PM ———-
It wasn’t that Scott rejected Goldsmith’s work, as much as he was pressured by Universal after a poor US test screening to use a more modern (i.e., rock) score. Goldsmith’s scoring also didn’t fit the re-editing Ridley Scott made for the shorter US cut, so it was quickly re-scored by Tangerine Dream. The International cut of "Legend" distributed by 20th Century Fox always retained Goldsmith’s score.
For the US market it still was a rejected score. It doesn�t matter if it�s the producer or the director who rejects a score, the end result is the same. And Scott was unable to defend Goldsmith’s score, a fact, Scott himself admitted and which Jerry never forgave him.
———- Post added at 04:17 PM ———- Previous post was at 04:15 PM ———-
Very beautiful fantasy moments, and some very obnoxious 80’s synths, at first i couldn’t standthe mixture but now i love it! Great edition, and at last great covers!
Yeah, you tried editing them out until I reminded you that it sounds… ehm… awkward (like shit) 😀
About the covers… took me long enough to do it. When did I do this set? March?
What about the last Unicorn? Christopher Lee spoke King Haggard…
Yes! but I have rewatch that again. It’s been ages.
Still haven’t listened to it yet but will today and then rewatch the movie again (the DC).
I�m not everybody else. Have you heard and seen the owner of MEGA? There you have your reason.
Do I sound so angry? Not good. At heart, I�m a cynic, these days I don�t expect anything when buying a new score because they�re always more or less botched. My cynicism may have gotten the best of me… I really love this score. But I had my problems with it. Now that I have made this set, I�m able to enjoy it.
Still haven’t listened to it yet but will today and then rewatch the movie again (the DC).
Very melancholic movie (Last Unicorn), badly drawn. Good music, even gorgeous at times. Great voice acting.
———- Post added at 11:49 PM ———- Previous post was at 11:48 PM ———-
Wow. I’ve never felt compelled to see the film — I don’t know if I ever will, to be honest — but this is a really hypnotic listening experience. Thank you for your stunning work as usual, I’m sure this is the best way to experience this score for the first time.
The movie is not bad. But not good either. The production was plagued with problems, the music was just one of the many problems. If I recall correctly, the set burned down. Not the best circumstances…
———- Post added at 11:49 PM ———- Previous post was at 11:49 PM ———-
Did you have any problems with Jupiter Ascending? Did you remaster that for your own personal enjoyment?
Yes, I did. It�s Varese, so no reason to share it 😉
Giacchino always sounds bad. Even among different engineers, I wonder how he does this.
I love this score!
@SA
Maybe a thread in the discussion section. Take your time to write out a thesis on this? :awsm:
Take a month to write it out and share your input with everyone.
Short version: They did once Jerry Goldsmith got booted from the project.
The Bluray has different cuts.
Theatrical with Tangerine Dream
Directors’ Cut with Jerry Goldsmith.
or something.
There’s 3 different cuts to the bluray.
How many hours do you have?
The perfect soundtrack sound… difficult. There are some scores that sound pretty unbalanced. Unbalanced means: not enough treble/too much treble, not enough bass/too much bass, not enough mids/too much mids. I always aim for a balanced sound, meaning, every frequency area should be equally loud to your ears. When I�m successful, it�ll sound good on every thing you play it with, whether it�s your smartphone, home stereo, kitchen radio (that�s what mastering really is about: good sound on every device).
In the case of Legend, there were only mids. Deep bass and high treble were – in comparison to the mids – too soft (low amplitude). Sounds OK on a kitchen radio, because those don�t have bass and treble anyway. But on a home stereo? Portable stereo? Smartphone? Much worse.
The end result is not the perfect soundtrack sound, but it�s the sound coming closest to that goal.
Perfect sounding soundtracks? Hook (1st release), Titanic, Star Wars EP II. They are fairly balanced, but not perfectly. Titanic lacks mids (typical for Horner scores, that was his preference), EP II has too much energy around 2500 Hz and above 9000 Hz, Hook is a bit too brilliant. Despite these marginal flaws, their sound works perfectly. They are engineered to sound a certain way, in case of EP II Shawn Murphy (engineer) wanted it to sound like the earlier Star Wars scores engineered by the late Eric Tomlinson. He had a certain preference for sound which Murphy then copied in order to create consistency.
An example of the desire for character gone awry are The Hobbit scores. Character badly exaggerated and then completely destroyed by mastering. An example where I myself turned the sound into something "imbalanced" on purpose is my Deluxe Edition for Kingdom of the Crystal Skull. In fact, the OST sounds more balanced. My Deluxe Edition pays hommage to the sound of the first Indy score, again engineered by Eric Tomlinson.
Perfect sounding soundtracks that are balanced? Timeline, the Goldsmith score, Tomb Raider by Silvestri, Species (C. Young), Avatar.
My main tool for making something balanced (by now it should have been clear that "balance" is a relative term) is an Equalizer. Engineers don�t like to use them the way I do, they always respect the original sound of the masters. I don�t care that much about the original sound, when it sounds bad it sounds bad. So I sometimes perform surgical procedures to average out frequency flaws introduced, for example, by ancient microphones (The Hobbit springs to mind again). Since 2007 or so I added tools for dynamic compression and spatial manipulation. With those two I can manipulate the impression of punch and the soundstage (say, the impression of the orchestra sounding as if it�s closer/further away from you). Tools I rarely use are declickers, denoisers, exciters and artificial reverb. I don�t use most of them because it isn�t necessary, most stuff I work on has already been treated with those. And I hate adding reverb, it always sounds fake. I can only name one exception: Jurassic Park. The sessions sound decidedly different to the OST (as evidenced on the 20th anniversary edition). The OST was prepared by Williams and Murphy specifically for the album, they added reverb, probably to add to the fantasy appeal.
All of those tools can be abused to create something that sounds completely unnatural, not at all like an orchestra. I don�t want that. I want real instruments that have been played by real, breathing and living people.
How do I know how something is supposed to sound like? Don�t know. Experience, I guess? I really have no idea. I always knew what sounded good and what doesn�t. Even when I was in my early teens. It�s always gratifying to realize that my sound preference (because that�s what it really is: a preference, not a reference) appears to be based on reality whenever I hear a live orchestra. But, of course, I also know how to analyze music by using, for example, frequency spectrum analyzers, spectograms, plots of any kinds, numbers and charts. People calling themselves audiophiles always get this wrong, on FSM you can find so many idiots having no idea what they�re talking about. These "cold" numbers help people like me to know WHY something sounds bad/good. If we know why, we can fix it. But those audiophiles? They�re just saying "I�m listening to music, not to data". Those are also people who cling to ancient media like vinyl, when, all that vinyl does, is adding character to sound (by changing the frequency response… like an equalizer, adding distortions, etc.). They could just use an EQ to tweak the sound to their liking. But no, they�re listening to music, not to data. Uhuh.
And before I start to lash out at people who are too dumb for their own good, I stop. I hope, I�ve answered some of your questions. I hope you understood even half of it (I can be too complicated when talking about stuff).
———- Post added at 01:04 AM ———- Previous post was at 01:03 AM ———-
@SA
Maybe a thread in the discussion section. Take your time to write out a thesis on this? :awsm:
Take a month to write it out and share your input with everyone.
Too late. As usual, I couldn�t stop writing. Crap <- directed towards me.
I’m going to copy/save it in a .txt file for future reading.
I’m going to copy/save it in a .txt file for future reading.
Don�t. Just my usual hot air.
———- Post added at 01:11 AM ———- Previous post was at 01:09 AM ———-
Wow, I’d love if you could privately share that one 😉
If I would do that, I would constantly be uploading scores. So I�m sorry, but no 🙂
Given that games-to-film have bad reps, I imagine if they did a live-action LOZ movie (at the then same time as this movie), it would have received as much production hell as this did.
:sigh:
posted in wrong thread
Once the musical sequences were cut out, Ridley Scott wouldn’t have been able to fight for Goldsmith’s "Legend" score. The underlying issue was that Goldsmith spent a great deal of time on this score, including pre-scoring the musical sequences, which forever burned his already tenuous working relationship with Scott.
Would Goldsmith’s score have been rejected if Universal didn’t want it replaced? No. This is why Scott didn’t use Tangerine Dream music for the European cut. This is why Scott restored Goldsmith’s work for the director’s cut. Scott shouldn’t receive your blame for this score being tossed from the US version.
Thank you for another Deluxe remaster!
Would Goldsmith’s score have been rejected if Universal didn’t want it replaced? No. This is why Scott didn’t use Tangerine Dream music for the European cut. This is why Scott restored Goldsmith’s work for the director’s cut. Scott shouldn’t receive your blame for this score being tossed from the US version.
Scott has a rocky relationship with scores written for his movies, shall I really give examples? So I partly blame Ridley Scott. Brilliant filmmaker though he is.
Wow I feel the same way about film scores now. I thought I was the only one. What happened?!? Everything is so atmospheric sounding now. Film composers don’t even write themes anymore. Its really boring and I think it hurts the films. Its like when all the wonderful composers like Goldsmith, Horner, Bernstein, etc passed away so did their whole idea of film scoring.
On a separate note I am really amazed what you’ve done here! I love the legend score now because I can actually hear it. Bravo my friend!
Gamefront is as fast as MEGA.
On a separate note I am really amazed what you’ve done here! I love the legend score now because I can actually hear it. Bravo my friend!
Actually, I meant the sound quality 😀
I don�t think that filmmusic is so bad these days. The Remote Control sound will pass in a few years, I�m sure. Something new and hot will replace it. In the meantime, I�m trying to ignore dumb ostinatos like in Terminator Genisys 😉
———- Post added at 08:46 PM ———- Previous post was at 08:44 PM ———-
-> Frontcover
I find the picture in general a bit too dark. When printed out, you might not be able to differentiate several shades of black/grey. However, where the hell did you get this picture?? Did you add the stars yourself? I should have thought of that… and how did you enlarge the sides? Does this exist in wide form as well? Because I couldn�t find it anywhere.
It is also one of my favorite Goldsmith albums, and the fact that the sound kind of sucked in the original album is no secret.
I just started listening as I’m typing this and damn, can I feel the bass and high tonalities now, with such a bigger breathing space in between. I’m noticing details I don’t think I ever paid attention to before, wow… Excellent work as always, but since this is one of my favorite scores, your efforts here are resonating on higher level and are doubly appreciated!
It is also one of my favorite Goldsmith albums, and the fact that the sound kind of sucked in the original album is no secret.
I just started listening as I’m typing this and damn, can I feel the bass and high tonalities now, with such a bigger breathing space in between. I’m noticing details I don’t think I ever paid attention to before, wow… Excellent work as always, but since this is one of my favorite scores, your efforts here are resonating on higher level and are doubly appreciated!
I�ve always wondered how the 2002-version sounds. I�ve never found it and since I already own the 1995-version, I�ve never bothered to buy it.
The original poster is this dark and I didn’t want to lighten it as it doesn’t work. It’s supposed to be dark (I’ve printed this out and it looks great, depends how you print it I guess). It doesn’t exist in a wide format, it was composed to be a portrait poster, as you said. The extra bits at the sides I’ve painted myself.
By the way… I like the �shadow� cover!!!! Less is More 😉
Thanks for everything, SonicAdventure! 🙂
Many thanks to Sonic
Thanks for the great work on this, dude.
I would be sceptical, too. After all, I could very well be someone who just presses some, I don’t know, "Crystalizer" or "Bass Boost" button, crank up the Noise Reduction to full and then proceed to call it "remastered". But I’m not.
Though I am in fact quite vocal about Deluxe Editions that didn’t have the result I wanted to have, Editions that could have been sounding better.
Glad that you like it 🙂
I second that. All links on mirrorcreator are dead (even those marked as working by mirrorcreator)
🙁
http://www.mediafire.com/?9j85pgwmd4hmar1
Fantastic, thank you 🙂
http://www.mediafire.com/?9j85pgwmd4hmar1
grateful thanks ellisplz for reuploading!!!
ellisplz for the reup!
http://www.mediafire.com/?9j85pgwmd4hmar1
Thank you so much for the link and thanks Sonic for the original share. I had been looking for this everywhere and I couldn’t find it so thank you so much!
http://www.mediafire.com/?9j85pgwmd4hmar1
Thank you so much!
http://www.mediafire.com/?9j85pgwmd4hmar1
Thanks a lot!!!!
———- Post added at 10:49 PM ———- Previous post was at 10:48 PM ———-
Beware: this doesn�t include any additional music!
Not one of my usual Deluxe Editions since it doesn�t contain additional music. Reason: every piece I was able to find sounded so bad that I couldn�t salvage it. I tried. To no avail. That leaves me with updated sound and several covers for you to choose from. ‘Legend’ by Jerry Goldsmith has always sounded like crap. A shame, really, because it is such a wonderfully complex score. Everyone knows the story of how this score was scrapped for the American release, so I�ll not mention it again. This release here is my fourth attempt to ‘remaster’ it and it�s the only one of my attempts I like. I have been trying – until now, in vain – since I bought my CD in 1995.
Over the years, countless people have complained about the sound, describing it as shrill, brittle and lifeless. I myself was appalled by the badly mixed, obnoxious synthesizers and by reverb that sounded metallic (and you never ever want that to happen!). While I could hear all of these issues, I didn�t know the reasons and, in turn, how to fix them. Now I do: as it turns out, it�s lack of deep bass, lack of high treble and spatiality problems. Basically, this score has only mids. Lots of it. But, of course, you cannot just switch on a Loudness switch, it needs refinement. My aim was to create something that sounds warmer, dynamic, less brittle, less metallic, with better integrated synths without loosing spatiality.
IMO, I succeeded on all counts. I was able to widen the sound, revealing an extremely well done mix. The added sonority helps the score a lot to sound more appealing while the synths are still strong yet less in-your-face. Precision has improved a lot. Some people won�t like this more contemporary sound, they will not like how much I changed it. To them I say: shut the fuck up, it now sounds like a Goldsmith-score.
The cover was a pain in the ass as well. This is an ’80s movie, so I wasn�t able to find HiRes material for it. I had to fake everything. Take the poster where Darkness is holding the two lovebirds in his hands while sitting within a nightly landscape. The whole picture was painted with the goal of being reproduced for vertical poster designs – which made it impossible to adapt it for square CD covers. So I had to expand it to the sides if I was to use it. That was a difficult job and you can see some artifacts if you look closely. Despite this, I�m happy for once how it turned out. Since I had to prepare several pictures before I could use them for the covers, they are included in the archive as well. You can find them within the folder named ‘Posters’. I actually re-created the two official SilvaScreen designs with the goal of updating them for the year 2015. Well, they still look like shit, my talent doesn�t go all the way it would need to do in order to actually offer an improvement. In any case, just take the pick you yourself like the most. Within the archive, you can find 3 design schemes. Design 1 is based on the colour RED, Design 2 is based soleley on the first SilvaScreen design, Design 3 is based on the recent BluRay.
Some personal thoughts regarding the music itself:
As much as I love it, I�m actually not surprised that this score was rejected. Jerry Goldsmith created something of an oddity because he composed a highly impressionistic score. Impressionism in music is characterized by "colour", achieved through orchestration, harmonic usage, texture, etc. By doing so, he composed a score with so much weight that it is crushing the movie. Which is a surprising in itself, because the movie itself is already very lush and colourful. While this certainly isn�t Goldsmith’s first impressionistic score, it�s one of his most challenging. There�s only one single theme which he brilliantly mutates so often or takes it apart in order to state just fragments that it becomes difficult to connect a certain theme to anything. And, who could forget, the synths. I�m sorry, but they sound incredibly dated, very old-fashioned and a bit tacky. Probably cutting edge 30 years ago… but nowadays? Not so. They add to the lushness of the music itself, turning the score into an overbearing nightmare. Still, it is a wonderful score. Extremely creative, inventive, complex, gigantic and one of the best of his career.
So in case you�ve never heard it before, be prepared to hear music that might appall you at first. My advice to you is: give it time, the score will unveil its beauty after a while. This isn�t an easy score, no. But it�s a rewarding one.
The sound will never be better (unless they find all the multitrack elements and remix it), not one of the available releases (The vinyl edition? Are you kidding? What a waste) is able to sound as good as this one. Not arrogance; it�s a fact. So, enjoy it!
Now A WARNING:
1. Once the links expire, I won�t upload it again, someone else has to do that (maybe by creating mirrors?)
2. Mp3’s: This time, I won�t provide them. Don�t be lazy, create them yourself, it�s incredibly easy.
Tracklist:
1. Main Title / The Goblins 5:49 2. My True Love�s Eyes / The Cottage 5:07 3. The Unicorns 7:56
4. Living River / Bumps & Hollow / The Freeze 7:25 5. The Faeries / The Riddle 4:56
6. Sing The Wee 1:11 7. Forgive Me 5:16 8. Faerie Dance 1:55 9. The Armour 2:20
10. Oona / The Jewels 6:44 11. The Dress Waltz 2:51 12. Darkness Fails 7:31
13. The Ring 6:32 14. Re-United 5:19
http://www.mirrorcreator.com/files/0G721DT4/TangerineNightmare.part1.rar_links
http://www.mirrorcreator.com/files/1BULANMD/TangerineNightmare.part2.rar_links
Pass:
OhNo,ScientologyAgain!
Thanks a lot!!!
I think you get to many views/hits for that.
If you ever do decide to quit permanently you really ought to create a "behind the scenes" sort of thread/video on how you approached remastering (if at all possible). I think that would be quite interesting to see at least.
If you ever do decide to quit permanently you really ought to create a "behind the scenes" sort of thread/video on how you approached remastering (if at all possible). I think that would be quite interesting to see at least.
Dear, what are you doing?? One "Thank you" would have been enough 🙂
http://www.mediafire.com/?9j85pgwmd4hmar1
Thanks! What about part 2? Does this include that?
———- Post added at 02:23 PM ———- Previous post was at 02:23 PM ———-
All included.
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