Christopher Young, not the one you know from the movie.
!!! IMPROVED SOUND !!! MORE COVERS !!! MP3 !!!
If you look below you can read all about the many troubles I went through one and a half year ago when I was turning several session releases of this score into a usable Edition. Because of them I haven’t been able to enjoy this score. I still can’t enjoy it, there’s always a sour taste on my tongue. And I still refuse to work with substandard quality files. An example: Fink and I were preparing a Deluxe Edition of Alien�. He already edited the release (a mixture of OST and ISO). But alas, it will not be done. For the simple reason that I’m unable to extract something akin to "quality" out of those perfect ISO-rip Calidoran had so graciously provided (Fox just pressed the film stems on the Bluray). So instead of concentrating on something not-so-nice, I returned to something that finally could be turned into something nicer: Spider-Man 3. While it still doesn’t make me happy, I found a way to improve the sound. Which is now sweeter, crisper, more dynamic, loosing a bit of the voluptuousness and the odd stageing. Really, it’s much improved. Almost without ill effect. To celebrate this improved sound, I also created a third cover: something very simple and minimalistic. And even though it’s not particularly wise, I offer it also as MP3 this time. I have accepted that people will do things that aren’t very clever without me having any say in it.
Musically, the set hasn’t been changed from last time. BUT: I erased a John-Debney-leftover I had overlooked (stupid me) and which Fink spotted. Error corrected, sound improved, cover added… what could be better? 🙂
This time, have fun 😀
Intro
I will never do something like this again. Never. Not a poll nor working with substandard quality files that belong to the trashcan. Blame can be very easily directed towards people who transcode (https://forum.dbpoweramp.com/showthread.php?82-What-is-transcoding-and-why-is-it-bad). I will deal with those issues later. Regarding the music, I’d love to say that I adore it. But it just wouldn�t be true right now. Working on this Edition has destroyed much appeal the music might have. And I want to like it, I can hear that it�s good. Before this Edition, I only knew Christopher Young’s score for Spider-Man 3 from watching the movie. It never left an impression, partly because I thought that it doesn�t always serves the picture. Which might have its root in the picture being disappointing and a weak entry, especially after Spider-Man 2. Furthermore, I like Christopher Young best when he is experimental (for mainstream cinema), I don�t like his gothic choirs a la Drag Me To Hell or Priest as much. Maybe after a few months have passed… maybe then I can enjoy it. When I assembled the tracks I wanted to use a year ago, I already knew I would have problems when I listened to some of them. Back then, I should have said "I won�t do it". But one is only so clever after the fact, isn’t one? I finally started this Edition exactly a week ago. I wanted to fulfill my obligations towards the poll and I wanted a Christmas present for the members of the Shrine. After three days working on it, I almost deleted it. This happened again two days ago. I haven�t been sleeping because of this. I didn�t go to the gym because of this. I haven�t been eating because of this. I have been cynical because of this. I couldn�t unwind because of this. I�m a perfectionist and the countless sound quality issues of this score exhausted this perfectionism in unexpected and awful ways. A few days ago, I would have said, that this ranges alongside my Edition for Star Trek: The Motion Picture in terms of hours spent on it. But no, this Editons trumps everything I have ever done. Never. Again. That�s how I�m feeling right now.
Sound
The main issues were huge differences in sound. Caused by artifacts introduced by lossy compression. My attempts to make the sound consistent proved to be futile, the quality was too bad for this. The only possible solution was to hide as much of them as possible. Which was problematic too since roughly 85% consists of lossy sourced pieces of music. During the last year, I have often received private messages, asking me when I would do Spider-Man 3. Those messages often included the offer for true lossless FLAC files… but those were only the same files I wanted to use. Genuinely lossless are only 15% of the music, everything else is either a 1st generation encode or a transcode. Especially the latter (approximately 50%) were showing severe flanging, distortions, stage instabilities, etc. The lossless files had problems of their own: brittle sound, flat & distant stage, high noise floor (for a recording this young), too much emphasis on frequencies below 50 Hz and a – at times – badly mixed choir & reverb. I don�t need to say that the transcoded files shared those problems, too. This was a score that was in dire need of being remixed, the aim being at more directionality. Before I started with this, I knew what I wanted: to hide compression artifacts and to improve directionality of sound events. I achieved both at least partly. In light of this, one might describe the sound as stellar now. Especially when compared to the sound of the files everyone knows. But the sound isn�t stellar, it�s – at best – mediocre. In the end I did something that sounds lush, charming and halfway consistent. For some, this sound might be too voluptuous. For me, it�s the best I was able to do. It�s not good but it may serve people well.
Cover
Since I wanted to finish it, I cut corners with the cover design. The last week exhausted me and I didn�t want to spend anymore time on this. So it�s as simple as I was able to in order to finish it quickly. I had help. Because I didn�t have any ideas whatsoever, I asked Heidl (http://forums.ffshrine.org/member.php?u=428356). I showed him early front cover designs, he suggested improvements. He even went ahead and shared his ideas for the Disc design with me. I followed them almost verbatim and I�m eternally grateful for his ideas. For those of you who always want to have the Deluxe Edition banner, I altered my main design and included it. I would rather avoid using the banner these days, it�s cheap, I stole it and it destroys cover designs. But there you go…
Transcodes
I have to ask: why transcode? Why would you blow up something that was 128 kBit/s to 320 kBit/s? Why don�t you people understand that it won�t improve the quality? It does the opposite, it gets worse. Some math for you: a 128 kBit/s MP3 takes away roughly 96% of the audio data. If you transcode that to 320 kBit/s, you take away another 80%. If you can�t hear the effects even then, congratulations: you have just effectively killed every possibility of good sound. Have you ever thought about it that you�re not respecting the composer by destroying the sound quality? You effectively destroy the music you so desperately covet. Not very clever, wouldn�t you say?
Some suggestions to avoid transcodes:
mp3DirectCut (http://mpesch3.de1.cc/mp3dc.html): cut, copy, paste, volume change, fade, normalize – all without re-encoding
FLAC (https://xiph.org/flac/): free lossless audio codec
… and don�t give me the excuse that your portable can�t play them or that your rate doesn’t cover lossless. Everything can play FLAC nowadays. Or WAVE.
And even on an iPhone should be enough space for ALAC.
Thanks to:
Fink: for listening to this Edition-in-the-making many times, reminding me that I forgot tracks or that I had used the rescored alternates
Heidl: for providing ideas for the cover
Now A WARNING:
Once the links expire, I won�t upload it again, someone else has to do that (maybe by creating mirrors?)
Tracklist:
Disc One
1. Main Titles 3:17
2. Harry‘s Lab / Meteor 2:41
3. Enter Flint Marko 3:10 4. Aunt May‘s Ring 1:45
5. Harry Attacks Peter 4:09 6. On The Run 0:37
7. Flint‘s Transformation Begins 1:06
8. Amnesiac Harry 1:23 9. Birth Of Sandman 3:09
10. Abandoned MJ 0:54
11. Gwen Stacy, Damsel In Distress 1:44
12. Humbled & Humiliated 1:13 13. Dump Truck 2:06
14. Sandy Party Crasher 3:17
15. Peter Leaves A Message 0:59 16. Flashback 2:07
17. Transformation Into Black-Suited Spidey 3:02
18. Vengeful Spidey 2:11 19. Subway Confrontation 4:13
20. Sad Girl 1:41 21. The Kiss & The Mirror 2:43
Disc Two
1. Tell Me You Love Me 2:34 2. Symbiont Seduction 1:21
3. Apt Fight 2:11 4. Scherzo For Strolls 0:38
5. Busting Eddie 1:31
6. Black-Suited Spidey Goes To Church 4:22
7. Sandman Rises 0:44
8. Peter Returns Aunt May‘s Ring 2:33
9. Peter At MJ’s Window 1:01
10. News Report 1:08
11. Peter Asks Harry For Help 2:22
12. Spidey Vs. Sandman & Venom 5:34 13. Harry Joins Spidey In Battle 4:18
14. Spiderd�mmerung 2:28 15. Sandman’s Confession 3:45
16. Death Of Harry / Funeral / In The End 4:59 17. End Web 5:09
18. Harry Comes Home (Alternate) 0:41
19. Birth Of Sandman (Alternate) 3:13
20. Tell Me You Love Me (Alternate) 0:57
Pass for all archives:
FullOfSymbioticIssues-Again
Links FLAC:
https://www.mirrorcreator.com/files/ERCLUNP7/Parker-NotTheBallPenAgain.part1.rar_links
https://www.mirrorcreator.com/files/TBEUIVY5/Parker-NotTheBallPenAgain.part2.rar_links
Links MP3:
https://www.mirrorcreator.com/files/0Z41RX9U/Parker-NotTheSmallBallPenAgain.rar_links
It was hellish.
———- Post added at 08:12 PM ———- Previous post was at 08:11 PM ———-
Epic rant, and epic work as always, Sonic. Hopefully you treat yourself to a steak, and whatever you do at the gym, and then sleep this nightmare off like a baby.
Listening to Star Wars: TFA serves me well right now.
It’s with esteemed respect that I write to you today to congratulate you on your latest scientific breakthrough. As I, myself, was very much inspired to attempt such a dastardly creation, I am, of course, immensely curious to hear the results of your own monstrous experiments.
Yours respectfully,
Dr. Caligari
I have to ask: why transcode? Why would you blow up something that was 128 kBit/s to 320 kBit/s? Do you have size issues? Is it because your dick is too small? Your brain? Or is it because you are so high and mighty and say "Oh, it�s only about the music". Yeah, fuck you! Why don�t you people understand that it won�t improve the quality? It does the opposite, it gets worse. Some math for you: a 128 kBit/s MP3 takes away roughly 96% of the audio data. If you transcode that to 320 kBit/s, you take away another 80%. If you can�t hear the effects even then, congratulations: you�re as deaf as a piece of bread. But others aren’t! They will hear your laziness. Have you ever thought about it that you�re not respecting the composer by destroying the sound quality? You effectively destroy the music you so desperately covet. Dumb, wouldn�t you say? So, dear beloved transcoders, go to Hell and stuff your transcodes to the place where the sun never shines. Do you really want to be that fuckin’ stupid?
Haha can I get an amen? 😀
———- Post added at 02:37 PM ———- Previous post was at 02:36 PM ———-
Listening to Star Wars: TFA serves me well right now.
It’s really something, isn’t it? I’ve probably played it 5 times back to back to back haha!
I�m a perfectionist and the countless sound quality issues of this score exhausted this perfectionism in unexpected and awful ways.
This is happening with my film mix of The Dark Knight. I almost don’t wanna finish it, and I’d say I’m about 80% done with it. To say it’s frustrating is an extreme understatement.
It’s with esteemed respect that I write to you today to congratulate you on your latest scientific breakthrough. As I, myself, was very much inspired to attempt such a dastardly creation, I am, of course, immensely curious to hear the results of your own monstrous experiments.
Yours respectfully,
Dr. Caligari
Actually, I�ve never seen Caligari, so I don�t know what to answer 😀
Therefore, my "Thank you" is rather timid; but I would like to know what you think of it after you�ve heard it 🙂
———- Post added at 12:47 AM ———- Previous post was at 12:43 AM ———-
Well, mediocre or not (haven’t heard it yet), I’m glad you’ve made this Sonic. I know this shows my age, but Spider-Man 3 was one of the first scores I sought out on its own. The lack of a commercial release played a huge part in my introduction to bootlegs. As I understand it, the rights for this score are really jacked up to this day, so no matter how bad your edition is, it may well be the best fans can get for years to come. I’m very much looking forward to checking it out!
I didn�t know that the situation is that difficult! Then, of course, you�re right. It certainly sounds better than any of the stuff released so far (that I know) but not as good as recently released music. Like Star Wars: TFA for example.
It’s really something, isn’t it? I’ve probably played it 5 times back to back to back haha!
I was surprised that I liked it immediately. I expected worse after what everyone wrote on this forum. I�ve only managed 3 times but so far, it flows wonderfully and even though I can hear more than hints of works not connected to the Star Wars franchise (Harry Potter, specifically, The Prisoner of Azkaban), I love it!
———- Post added at 12:48 AM ———- Previous post was at 12:47 AM ———-
This is happening with my film mix of The Dark Knight. I almost don’t wanna finish it, and I’d say I’m about 80% done with it. To say it’s frustrating is an extreme understatement.
I�ve heard about the difficulties with The Dark Knight. And I can so relate to your suffering. For that it is: suffering. I have started to ask myself if this is all worth it.
———- Post added at 05:32 PM ———- Previous post was at 05:24 PM ———-
I was surprised that I liked it immediately. I expected worse after what everyone wrote on this forum. I�ve only managed 3 times but so far, it flows wonderfully and even though I can hear more than hints of works not connected to the Star Wars franchise (Harry Potter, specifically, The Prisoner of Azkaban), I love it!
I hear these things too, but to me it’s always a result of the natural progression of a composer. John Williams, despite his enormous talent, never stops exploring, never stops trying new things – that’s one of the things he excells at. I think, as you’ve mentioned in the past, that his scores have continually gotten more complex, and I think that continues with this score. He’s continually incorporating new tools he discovers from scoring and incorporates them in such a wonderful fashion. I hear bits of Harry Potter too (like I said) but it doesn’t scream Harry Potter, just sounds similar. This is definitely a Star Wars score, and a nice, new, less dark take on one post Ep 1-3. It’s not often that I find scores I’ll listen to back to back to back these days, so finding one, like this, is such a wonderful thing. God I hope he scores ep 8 and 9. At least. He will always be my favorite composer, no question. Makes me a little biased, but after all these years, his scores have just continued to get better and better. The depth of his talent, IMHO, is limitless.
Yes, a composer usually develops throughout the time he�s active. And John Williams certainly has. TFA has been a very nice distraction from Spider-Man 3 during the last two days. Can�t wait for the CD to arrive, I’d like to hold a booklet in my hands. Besides, it sounds very good for a recent score. Not as perfect as Episode I & II (the different recording venue is audible, even though Shawn Murphy probably did his best) but more than good enough. John Williams also was pretty inspired this time what material to use for his usual suites, this isn�t always the case. The soundtrack has a nice flow, the music is very good, the sound is very good. What more could one want?
Just kidding, don’t care about the music, the remaster project, or your silly rant.
In regards to the score itself, this was probably the first score I ever remembered a decent amount of. Being 7 years old, I didn’t care much for music at that point. When I saw the movie in theaters, what intrigued me at that point was how much of the score I remembered. Sandman’s Theme, The Symbiote theme, The first Peter and Harry fight, Harry’s death, the last cue that starts the credits, and of course the main theme.. It’s always the thing that resonated with me on subsequent re-watches, when the movie started getting worse in my eyes. If anything, Spider-Man 3 is what got me into listening to scores. With this deluxe edition out, I can safely say I can listen to it in the best way possible, even if it’s not that great sounding.
In regards to transcoding, I was very guilty of it early on in my early days of listening to music. As I learned more about the file formats, I ended up realizing that constantly converting the same files to a different format was a terrible idea, since those were the first times that I noticed the audio sounding worse. Now, I just have most music in FLAC and use those files to try out new lossy formats for memory space sake.
———- Post added at 11:20 PM ———- Previous post was at 11:00 PM ———-
http://www.discogs.com/Christopher-Young-Spider-Man-3-Original-Motion-Picture-Score/master/431358 Were any of these releases used for this edition?
That�s exactly how it is, thank you for your kind words 🙂
And a Merry Christmas and a happy New Year to you, too!
———- Post added at 03:04 PM ———- Previous post was at 02:52 PM ———-
It’s unfortunate to hear all the issues you went through in making this. Not being that well versed in professional audio, I could never notice any issues in sound quality, though I’ve started noticing more of it (EX: An obscure movie soundtrack named Mix 2.0 has all tracks cut off at 16 kHz, which is confusing given that it’s an official release). However, after hearing the whole story, it scares me from going further in the world of Hi-Res music. With the sessions that popped up a while back, I didn’t really notice much of an issue with it, though I was not a fan of how quiet it sounded. Again, this is coming from a casual, so who knows.
You�d wonder about some stuff professional people deem usable and fit for release. And don�t get me started on Hi-Res 😀
In regards to the score itself, this was probably the first score I ever remembered a decent amount of. Being 7 years old, I didn’t care much for music at that point. When I saw the movie in theaters, what intrigued me at that point was how much of the score I remembered. Sandman’s Theme, The Symbiote theme, The first Peter and Harry fight, Harry’s death, the last cue that starts the credits, and of course the main theme.. It’s always the thing that resonated with me on subsequent re-watches, when the movie started getting worse in my eyes. If anything, Spider-Man 3 is what got me into listening to scores. With this deluxe edition out, I can safely say I can listen to it in the best way possible, even if it’s not that great sounding.
I�m pretty happy with how the sound turned out. Especially considering the quality I started with. But it all could have been better would the quality have been better in the first place. That is what bugs me, because the music deserves good sound. But it�s interesting that this score got you into scores. For several generations there seems to be a certain number of scores that flip a switch, this seems to be one of them.
In regards to transcoding, I was very guilty of it early on in my early days of listening to music. As I learned more about the file formats, I ended up realizing that constantly converting the same files to a different format was a terrible idea, since those were the first times that I noticed the audio sounding worse. Now, I just have most music in FLAC and use those files to try out new lossy formats for memory space sake.
Yeah, but then all of us started like this or similar. You�d laugh about the things I used to do when I was starting with this, Hell, I laugh about it. I would grab my younger self and try to talk some sense into it. But yes, FLAC for archiving, mp3, or, better yet, a more recent codec like aac or opus.
[/COLOR]http://www.discogs.com/Christopher-Young-Spider-Man-3-Original-Motion-Picture-Score/master/431358 Were any of these releases used for this edition?
I don�t know. I had three editions and most of them had different track titles.
———- Post added at 03:11 PM ———- Previous post was at 03:04 PM ———-
A bit confused as to why "End Tag" and "Black Is The Color" aren’t here. Maybe those files were way too messy?
It�s more probable that
A. there were by either Lurie or Debney
or
B. they were titled differently
I had a pretty extensive list, written in Excel, provided by someone. Sadly, I forgot who gave it to me. It listed all available tracks, whether they were lossless or lossy, used in the movie or not, who composed the alternate, etc. Since I finished this set, I deleted it, so maybe the person who provided it to me, could chime in.
I also had a second list Fink provided, I used that as well. Though it was a bit more difficult because he had different track titles. That might easily be the most confusing thing: differing titles.
about "Black Is the colour" the song is by Young indeed since it uses one of his themes; but it is a song nonetheless and not a very good one IMO
about "Black Is the colour" the song is by Young indeed since it uses one of his themes; but it is a song nonetheless and not a very good one IMO
I didn�t even know that there was a song. It wasn�t included in both lists I had. Though I might have included it at the end if I�d have known about it 😉
I agree 100%.
With the exception of the song – which would have been used by me would I have known about it – I completely ignored any material composed by Lurie / Debney. The only exception are the two tracks I included in the folder "Erased Tracks" which I remastered by mistake and thought that fans might like it for one reason or the other.
Genuinely lossless are only 15% of the music, everything else is either a 1st generation encode or a transcode. Especially the latter (approximately 50%) were showing severe flanging, distortions, stage instabilities, etc.
Would you be able/willing to break down which cues were actually lossless, which were a 1st gen encode, and which were transcodes. It’d be really interesting to compare the qualities of the different files.
With pleasure.
Lossless: 2., 17., 27., 37. 1:41-end, 40.
1st gen: 1., 3. 0:00-0:45, 4., 5., 6., 8., 9., 14. 0:30-end, 15., 16., 19. 0:00-1:56 & 2:22-end, 21. 0:00-2:15, 22., 23., 24., 26., 32., 33., 34. 1:06-end, 35., 37. 0:00-1:41, 38. 0:00-2:27
X gen: 3. 0:45-end, 7., 10., 11., 12., 13., 14. 0:00-0:30, 18., 19. 1:56-2:22, 20., 21. 2:15-end, 25., 28., 29., 30., 31., 34. 0:00-1:06, 38. 2:27-end, 39., 41.
I have to remind you though that these are assumptions based on frequency response and amount of artifacts. In no way can I be sure to be telling the absolute truth. And I also have to correct my initial assessment that 50% are transcoded files. It�s more like 40% while (probable) 1st gen encodes make up the bulk of the music.
2: When Danny Elfman was done composing the initial score, Sam Raimi wasn’t happy with the whole thing. Particularly, the most noteworthy scenes with Doc Ock (The Tritium Failure Sequence and The Train Action Sequence) weren’t clicking with the composed material in Sam’s eyes. Having watched a movie featuring Christopher Young’s work, Sam told Danny to replicate the sort of cues for these sequences. Elfman refused, since he was there to make his own music, not steal from someone else (which is ironic, since he has a tendency to repeat himself in his own scores). After several arguments, Elfman left the project, never working with Raimi again until Oz: The Great and Powerful. Sam decided to bring in Young to do the previously mentioned sequences, as well as John Debney for two other scenes ("Special Delivery" and "Take Girl," according to IMDB). It becomes apparent when listening to the complete bootleg of the score, when comparing the used tracks and the rejected tracks. The rejected tracks in particular copy cues from the first film. The end result is Young’s cues being the standout ones, with everything else being typical of Elfman.
3: Christopher Young was chosen again after Elfman refused to participate, even after Producer Grant Curtis claiming that the latter would be assisting the former. Young composed a new love theme, as well as new themes for Aunt May and Mary Jane. However, the only new themes that were approved were for the Symbiote/Venom and Sandman, since they were new characters. As the result, a lot of the new material had to be scrapped in order to bring in themes from the previous movies (which is unnecessary, considering only the general public would recognize the main theme, which is all they really needed). John Debney was brought in again, along with Deborah Lurie, to put alot of those themes back in the film (the titles should also be listed on IMDB). All the rejected new material can be heard on this deluxe edition, as well as previously leaked recording sessions and expanded material.
I’m very glad that completes and/or expanded versions of all the scores have surfaced, since it allows for better comparison, especially with 2 and 3.
2: When Danny Elfman was done composing the initial score, Sam Raimi wasn’t happy with the whole thing. Particularly, the most noteworthy scenes with Doc Ock (The Tritium Failure Sequence and The Train Action Sequence) weren’t clicking with the composed material in Sam’s eyes. Having watched a movie featuring Christopher Young’s work, Sam told Danny to replicate the sort of cues for these sequences. Elfman refused, since he was there to make his own music, not steal from someone else (which is ironic, since he has a tendency to repeat himself in his own scores). After several arguments, Elfman left the project, never working with Raimi again until Oz: The Great and Powerful. Sam decided to bring in Young to do the previously mentioned sequences, as well as John Debney for two other scenes ("Special Delivery" and "Take Girl," according to IMDB). It becomes apparent when listening to the complete bootleg of the score, when comparing the used tracks and the rejected tracks. The rejected tracks in particular copy cues from the first film. The end result is Young’s cues being the standout ones, with everything else being typical of Elfman.
3: Christopher Young was chosen again after Elfman refused to participate, even after Producer Grant Curtis claiming that the latter would be assisting the former. Young composed a new love theme, as well as new themes for Aunt May and Mary Jane. However, the only new themes that were approved were for the Symbiote/Venom and Sandman, since they were new characters. As the result, a lot of the new material had to be scrapped in order to bring in themes from the previous movies (which is unnecessary, considering only the general public would recognize the main theme, which is all they really needed). John Debney was brought in again, along with Deborah Lurie, to put alot of those themes back in the film (the titles should also be listed on IMDB). All the rejected new material can be heard on this deluxe edition, as well as previously leaked recording sessions and expanded material.
I’m very glad that completes and/or expanded versions of all the scores have surfaced, since it allows for better comparison, especially with 2 and 3.
Geez, that sounds like an absolute mess. No wonder Spiderman 3 never got an album release. Although, while I agree with you that the general audience wouldn’t recognize the old themes being replaced by new ones, a lot of film score aficionados appreciate directors remaining loyal to certain musical themes and motifs, myself included.
2: When Danny Elfman was done composing the initial score, Sam Raimi wasn’t happy with the whole thing. Particularly, the most noteworthy scenes with Doc Ock (The Tritium Failure Sequence and The Train Action Sequence) weren’t clicking with the composed material in Sam’s eyes. Having watched a movie featuring Christopher Young’s work, Sam told Danny to replicate the sort of cues for these sequences. Elfman refused, since he was there to make his own music, not steal from someone else (which is ironic, since he has a tendency to repeat himself in his own scores). After several arguments, Elfman left the project, never working with Raimi again until Oz: The Great and Powerful. Sam decided to bring in Young to do the previously mentioned sequences, as well as John Debney for two other scenes ("Special Delivery" and "Take Girl," according to IMDB). It becomes apparent when listening to the complete bootleg of the score, when comparing the used tracks and the rejected tracks. The rejected tracks in particular copy cues from the first film. The end result is Young’s cues being the standout ones, with everything else being typical of Elfman.
3: Christopher Young was chosen again after Elfman refused to participate, even after Producer Grant Curtis claiming that the latter would be assisting the former. Young composed a new love theme, as well as new themes for Aunt May and Mary Jane. However, the only new themes that were approved were for the Symbiote/Venom and Sandman, since they were new characters. As the result, a lot of the new material had to be scrapped in order to bring in themes from the previous movies (which is unnecessary, considering only the general public would recognize the main theme, which is all they really needed). John Debney was brought in again, along with Deborah Lurie, to put alot of those themes back in the film (the titles should also be listed on IMDB). All the rejected new material can be heard on this deluxe edition, as well as previously leaked recording sessions and expanded material.
I’m very glad that completes and/or expanded versions of all the scores have surfaced, since it allows for better comparison, especially with 2 and 3.
Lots of issues there. Sad. For every composer involved. To be fair, Raimi had worked with Christopher Young before on ‘The Gift’. Even Elfman was in it, he played a violinist in a vision. I think, that Raimi can be a director who gets unsure about the music the more production progresses. When I watched Spider-Man 3 in cinema, the music for Flint Marko’s transformation scene striked me as oddly subdued. It popped out like some sort of question mark and I don�t think it was supposed to do that. Working on this set revealed (to me) that Young intended a more bombastic version, exactly what I would have expected. I have wondered for years why Raimi wanted it replaced with the subdued alternate.
any answer appreciated:)
any answer appreciated:)
Don�t be so sure that this will be a gem ;). The thread received 3 stars so far, a pretty good indication of the quality IMO. But it�s the best I was able to do and considering all the music I�ve heard for this score, I myself can certainly assure you that I will keep only this version. But of course I would say that.
———- Post added at 05:00 PM ———- Previous post was at 04:06 PM ———-
Btw, has no one noticed that I made an error? 😉 There is one additional piece that doesn’t belong here 🙂
Excellent work on this, impressed with how you managed to salvage tracks like "Flint’s Transformation Begins."
Thank you very much.
———- Post added at 09:44 PM ———- Previous post was at 09:43 PM ———-
I’ll second all of these comments and say that this score was what got me into bootlegging. Maybe one day when we are all trading from our Google Glass in the nursing home this score will get the release it has always deserved.
Excellent work on this, impressed with how you managed to salvage tracks like "Flint’s Transformation Begins."
Thank you, too. And Flint’s Transformation Begins was indeed one of the most difficult tracks. Like the one right after (because it�s softer, the errors aren�t as in-your-face).
Merry Christmas too You and Have a Happy New Year!
They are maybe more important then you are.
Me personally like to hear what they have.
Intstead of your rant.
Merry Christmas too You and Have a Happy New Year!
I always think that no one reads the crap I write 😀
———- Post added at 02:41 AM ———- Previous post was at 02:26 AM ———-
Sonic you are scaring fans who want to share they have.
They are maybe more important then you are.
Me personally like to hear what they have.
Intstead of your rant.
Perfectly ok.
For your information: people voted for this score and another one, both received the same amount of votes. So I decided – and promised – to do both even though I had to do only one score. I�m not the type of person who steps back from something I promised to do. And my ranting was very much influenced by the hard time this particular score gave me and the poor quality roughly half of the basic material has. This bad quality was caused by people don�t understanding how to deal with codecs and formats. To avoid this, I attempted to show people how they can avoid errors in the future, errors that destroy the sound. Why are people selling stuff as lossless when it isn�t? To be honest would be so much easier, for you and myself. We both could then decide: do we want it or not? But that only works if we have all the facts.
Lossless: 2., 17., 27., 37. 1:41-end, 40.
1st gen: 1., 3. 0:00-0:45, 4., 5., 6., 8., 9., 14. 0:30-end, 15., 16., 19. 0:00-1:56 & 2:22-end, 21. 0:00-2:15, 22., 23., 24., 26., 32., 33., 34. 1:06-end, 35., 37. 0:00-1:41, 38. 0:00-2:27
X gen: 3. 0:45-end, 7., 10., 11., 12., 13., 14. 0:00-0:30, 18., 19. 1:56-2:22, 20., 21. 2:15-end, 25., 28., 29., 30., 31., 34. 0:00-1:06, 38. 2:27-end, 39., 41.
I have to remind you though that these are assumptions based on frequency response and amount of artifacts. In no way can I be sure to be telling the absolute truth. And I also have to correct my initial assessment that 50% are transcoded files. It�s more like 40% while (probable) 1st gen encodes make up the bulk of the music.
Thanks for your analysis and breakdown. Quality does seem to be all over the place. Track 7 sounded pretty bad but I couldn’t tell that there was a transition on tracks 3 and barely noticed it on track 14.
Also, here is a mirror on MEGA for those having problems with the other hosts: Mirror [Single Link] (https://mega.nz/#!5B0xEJTa!_7qGs4NLAipmJhBZ2R5SyGKJkX_UR8vzY3GHKe_9XaA)
Sounds like you had a great time! 🙂
Also, here is a mirror on MEGA for those having problems with the other hosts: Mirror [Single Link] (https://mega.nz/#!5B0xEJTa!_7qGs4NLAipmJhBZ2R5SyGKJkX_UR8vzY3GHKe_9XaA)
Marvellous! Thanks very much for the mirror. Am I allowed to put it into the First post? With full credit, of course.
And I’m glad that not as many differences are that audible.
———- Post added at 05:29 AM ———- Previous post was at 05:28 AM ———-
Thanks a lot!
Sounds like you had a great time! 🙂
You can’t imagine how great that time really was. I’m still having nightmares 😀
———- Post added at 05:30 AM ———- Previous post was at 05:29 AM ———-
IMHO, the best Spiderman music score in the series featuring Tobey Maguire.
Agreed. Though I admit, I know elfman’s scores from the movies only.
Certainly! It’d probably be better if it wasn’t buried in the thread. 🙂
Done! Thank you very much for this 🙂
———- Post added at 03:59 PM ———- Previous post was at 03:57 PM ———-
What were to happen if better source files were to be released? I know that would be unlikely, considering the many years that have passed. But, would this get a do over, or would the process of making this deluxe edition continue to be traumatic?
I probably wouldn�t do it again. Usually, I don�t return to a score once it�s finished. I always have the next project in my sight… which, this time, will probably be another Zimmer. I intend to have fun. Shoot, I will definitely have fun! 😀
I hope you hold off on doing a Deluxe Edition of The Force Awakens until a true lossless version of the FYC tracks (with around a quarter hour more unreleased music) surfaces.
I hope you hold off on doing a Deluxe Edition of The Force Awakens until a true lossless version of the FYC tracks (with around a quarter hour more unreleased music) surfaces.
Thanks! And about TFA: of course.
Though I could do something with the FYC already 😉
I will not do Spider-Man 3 again, I stressed myself too much with it. But I will – at some point – do Jurassic Park again, my present Deluxe Edition sucks. About Star Wars, I will wait until the expanded set will be released officially. Let�s see then what one can do with it.
I’m glad you like it. That means that, after all, I have been successful in creating an enjoyable listening experience. Despite all odds. Thanks 🙂
Thanks. But I fear that my rants didn�t fare well with everyone (as was to be expected if I�m honest with myself).
———- Post added at 06:10 PM ———- Previous post was at 06:10 PM ———-
I gave this a listen, and I’ll say this now: all of the hard work really paid off. I salute you, sir. Thank you very much for this. 🙂
Really? I�m glad, thanks! 🙂
🙂 But I�m always hard on myself. I need to improve and that�s why I need to criticise myself.
The answer to your question: I didn�t know. I never downloaded it nor did I ever listen to it before and I was hoping that it might not be as worse as people were making it appear to be (it was). And frankly, after I heard some of it, I thought I could pull it off. My arrogant side thought "You can do this, you have done worse before, you are marvellous, you can turn shit into chocolate." When I finally worked on it, my arrogant side became more silent by the minute until my decent side took over, practially screaming "What have you done?!?? This is what you get for being a tosser who wears his head too high!"
And there you have it. Ignorance combined with too much pride.
Also, having finally listened to the whole thing, this remains my favorite score. I just love it so much. It’s a shame there was never an official release. If anything, I’m surprised it was all allowed to be in the movie at all. Thankfully, this deluxe edition is available for my listening needs (since I don’t like how the recording sessions were organised).
I am curious about something…how come you didn’t stitch together the film version for "News Report" and include the "Opening Montage" sequence? Those can be found in the musical feature from the 2-Disc DVD set of the film.
If you don’t have said feature I’ve got those two cues I could upload for you…
If there are three things I�ve learned from this exercise:
1. I will not do something like a poll again (my fears became true – and I�m sad about this as I had hoped it wouldn�t be a self-fulfilling prophecy)
2. People have a hard time following guidelines. Some just ignore them because they only think about their advantage, their gain. Others are simply too dumb. Others haven�t read them. This negative and unfair view isn�t true but despite myself knowing it I can�t shake off that feeling.
3. I�ve learned what people, real fans, actually want. This was revealing, insightful and refreshing, the only positive thing for me – so far. Spidey might turn into an Edition I like but it hasn�t happened yet. Last Samurai hasn�t turned into a favourite Edition (and it won�t as the OST is way superior) either, but there the music is to fault.
Also, having finally listened to the whole thing, this remains my favorite score. I just love it so much. It’s a shame there was never an official release. If anything, I’m surprised it was all allowed to be in the movie at all. Thankfully, this deluxe edition is available for my listening needs (since I don’t like how the recording sessions were organised).
Thank you. And I agree, there should have been an official release. Chris Young would have chosen the best pieces, I�m sure. At some point in the future, the rights issues might be moot so that there can be a proper release. Very probably, they (whoever it will be that gets to do it) will have better sources, maybe even mix it anew so it�s likely that the sound will be better. Always hoping for the best 🙂
I sincerely doubt Sony would ever make an official release, considering how poorly handled the release of Amazing Spider-Man 2 score apparently was. Maybe when the first two movies have an expanded release, considering that some of Danny Elfmans’ scores have been given expanded / complete releases through La La Land. I call my bets on when the original movie has its 20th Anniversary, since that’s not too far right now.
I sincerely doubt Sony would ever make an official release, considering how poorly handled the release of Amazing Spider-Man 2 score apparently was. Maybe when the first two movies have an expanded release, considering that some of Danny Elfmans’ scores have been given expanded / complete releases through La La Land. I call my bets on when the original movie has its 20th Anniversary, since that’s not too far right now.
Don’t count on any type of official release even from LLL or Intrada. I’ve read in interviews that the only way we’d get an official score only release if Young removed all Elfman material which as we know is the back bone of his score. Young is an album producer so that thinking is not a good thing for him and he knew it. So that’s why we haven’t gotten an official release yet….rights issues.
If there are "rights issues," how come it was all able to be used in the film? Sony has to own the Elfman material, unless I’m mistaken. I want to know who owns what, since it would be necessary in figuring out why things are the way they are.
———- Post added at 07:26 PM ———- Previous post was at 07:22 PM ———-
Good job on the set.
I am curious about something…how come you didn’t stitch together the film version for "News Report" and include the "Opening Montage" sequence? Those can be found in the musical feature from the 2-Disc DVD set of the film.
If you don’t have said feature I’ve got those two cues I could upload for you…
Film special features are never really considered for fan made expanded releases of scores. It’s always recording sessions and official releases that are used. Besides, wouldn’t the audio track for the features by lossy? SonicAdventure already had to deal with that.
———- Post added at 07:28 PM ———- Previous post was at 07:26 PM ———-
The Opening Montage cue also pops up in this bootleg: http://www.discogs.com/Christopher-Young-Spider-Man-3-Complete-Motion-Picture-Score/release/2520066
I am curious about something…how come you didn’t stitch together the film version for "News Report" and include the "Opening Montage" sequence? Those can be found in the musical feature from the 2-Disc DVD set of the film.
If you don’t have said feature I’ve got those two cues I could upload for you…
I never owned the 2-disc DVD set, just the 1-disc edition… and while I�m thankful for your offer to upload it, my work with this score is finished. I will not touch it again, sorry.
My main reasons for not using this or that version: musical flow, spur of the moment, no reason at all, my ignorance… in this case though it was quality first and then musical flow. Other, minor reasons were that I simply couldn�t know what track was used how, where, when, if, shortened, recomposed, if there exist 100 versions of one track, etc. etc. In the grand scheme of things (-> the score as a whole) small details like this are fairly unimportant IMO. Though I had two pretty detailed and complete lists. They were supposed to be the last word, yet they weren�t always correct. The confusion is not exactly alleviated considering the many different names for the same track.
Furthermore, I wanted to use material from Chris Young only, I didn�t care about stuff regurgitated by Lurie / Debney so I wasn�t interested in an Edition that reflected the music used in the movie. Something which I made very clear in my first post. The inclusion of the recomposed "New York Morning" is an error on my part, so far no one (except Fink) has noticed.
Erm… I�ve all but eliminated the working process from my memories. Even while I was working on it, I just followed three lists. Without them I would not have known anything. To be frank, I forgot everything. And it has been years since I watched my DVD with the movie… so I�m sorry.
Thanks for the self mutilation. 🙂
fair enough brother, i appreciate your response, i’ll try asking around here if anyone who has listened to it may know anything. 🙂 Thanks
———- Post added at 06:42 PM ———- Previous post was at 06:38 PM ———-
For anyone who has listened to this deluxe edition, I was wondering where did the cue towards the end of harry’s funeral get released? (1:40) ? It plays right after he dies I didn’t know that cue was released, I’m now wondering what other cues have been released that I wasn’t aware of, The sessions didn’t even have that portion. Is the film version to the news telecast released? I’m curious, was that cue from a blu ray rip? cause to my knowledge that portion of the cue wasn’t released beyond that, sorry for all the questions but I hope someone on here can shed some light on this for me. Thanks 🙂
Your version:
Copy I found:
I’m not sure what to assess from this, but it’s an interesting discovery. I’m considering uploading it here, seeing as it’s the other best sounding source besides this one. I also have a collection of the Lurie or Debney cues from the same source, but it’s about as bad as the material you had to work with (though it did confirm to me that "End Tag" wasn’t a Young cue). I guess that closes the book on this subject for a while, except for maybe finding out if any of these (https://www.discogs.com/Christopher-Young-Spider-Man-3-Original-Motion-Picture-Score/master/431358) are lossless. This still remains my favorite score and you still did a magnificent job on it. Cheers!
I have to ask: why transcode? Why would you blow up something that was 128 kBit/s to 320 kBit/s? Do you have size issues? Is it because your dick is too small? Your brain? Or is it because you are so high and mighty and say "Oh, it�s only about the music". Yeah, fuck you! Why don�t you people understand that it won�t improve the quality? It does the opposite, it gets worse. Some math for you: a 128 kBit/s MP3 takes away roughly 96% of the audio data. If you transcode that to 320 kBit/s, you take away another 80%. If you can�t hear the effects even then, congratulations: you�re as deaf as a piece of bread. But others aren’t! They will hear your laziness. Have you ever thought about it that you�re not respecting the composer by destroying the sound quality? You effectively destroy the music you so desperately covet. Dumb, wouldn�t you say? So, dear beloved transcoders, go to Hell and stuff your transcodes to the place where the sun never shines. Do you really want to be that fuckin’ stupid?
I’m sorry but I’m kinda lit right now and seeing you go from really informative to calling people out and just ripping into that shit was hilarious. No disrespect, I enjoy perfect audio as well. It"s just that it was funny to me when you started going on a rant and to be honest I pictured you as Nicolas Cage from that one scene in Vampire’s Kiss….
———- Post added at 08:54 AM ———- Previous post was at 08:50 AM ———-
Sound
The main issues were huge differences in sound. Caused by artifacts introduced by lossy compression. My attempts to make the sound consistent proved to be futile, the quality was too bad for this. The only possible solution was to hide as much of them as possible. Which was problematic too since roughly 85% consists of lossy sourced pieces of music. During the last year, I have often received private messages, asking me when I would do Spider-Man 3. Those messages often included the offer for true lossless FLAC files… but those were only the same files I wanted to use. Genuinely lossless are only 15% of the music, everything else is either a 1st generation encode or a transcode. Especially the latter (approximately 50%) were showing severe flanging, distortions, stage instabilities, etc. The lossless files had problems of their own: brittle sound, flat & distant stage, high noise floor (for a recording this young), too much emphasis on frequencies below 50 Hz and a – at times – badly mixed choir & reverb. I don�t need to say that the transcoded files shared those problems, too.
*pun
Yes, I knew from the beginning that it wouldn’t be too clever to include a rant. But I knew I wanted to say it. Because I know what I feel when I see stupid, unnecessary transcodes. They make me angry, can’t help it.
Thanks for your efforts once more! Considering I was messing around with various files I have for a project, this should help with the Young only bits.
———- Post added at 05:06 PM ———- Previous post was at 05:02 PM ———-
In fact, I got some covers for ya (Note these are for the sessions that are out, so it doesn’t correlate well with this particular set):
I’m still learning. It’s only been a month since I started doing covers (thanks to Mr. Gold!). I expect to get better once I start actually experimenting more. Besides, the new one added to this set kicks any of the efforts I’ve made so far. It’s really great.
Considering that you’ve made your share over the years (including with another great guy), perhaps some tips could help me improve?
Lastly, is Superman Returns in consideration for, I don’t know, "returning" soon? *get hit by a cup* I got my thread in case you need better files.
Considering that you’ve made your share over the years (including with another great guy), perhaps some tips could help me improve?
Lastly, is Superman Returns in consideration for, I don’t know, "returning" soon? *get hit by a cup* I got my thread in case you need better files.
I like my set for Superman Returns 😀 I don’t think it needs improving.
And sorry, I wasn’t very polite regarding your covers… I’m ashamed. To tell the truth, I didn’t consider they were yours. So forgive me.
I also don’t think that my new cover is good. I just wanted to offer something else. And so I got a bit desperate 😀
It’s fine. Those particular ones (except the first, which was done to match the previous two films I had done beforehand) were made from images I had found cool, so those were done much more on the spot. I did admittedly give no indication it was mine in the original posts, so it’s excusable.
I will update them in the future to better match the set though. Any suggestions?
I also don’t think that my new cover is good. I just wanted to offer something else. And so I got a bit desperate 😀
Rubbish. I think it’s great! Such simplicity can covey so much. And besides, at our most desperate, we can still turn out some good products.
All right.
1. Pictures of better quality & resolution – and IMO, filmstills rarely work for covers
2. For the fonts, leave more space to the sides – imagine an invisible frame that cover roughly 5% or so to each side, space that is never to be touched
3. For the fonts, decide on something easily readable but elegant – for uniformly dark backgrounds light font colour, opposite for light backgrounds, for colourful backgrounds… you’re fucked 😀
4. Fancy fonts (like the Spiderman-font) only for the movies’ title – they almost never work for "informative" text (original soundtrack, composed by, etc.) – if you’re Heidl you can do it though 😉
5. Less text is usually more beautiful – lots of text produces clutter
Ah, this text sucks. I’m thinking on a practical approach, pictures say more than words. I’ll think something up.
And sorry, I wasn’t very polite regarding your covers… I’m ashamed. To tell the truth, I didn’t consider they were yours. So forgive me.
I also don’t think that my new cover is good. I just wanted to offer something else. And so I got a bit desperate 😀
Don’t beat yourself up over it. Maybe the comment wasn’t the most constructive of criticisms, but you didn’t know that the covers were his to begin with! And it’s not like you flat out said they suck or anything.
Anyways, even though I’m not going to pick up a copy of this, can I just say your willingness to admit past mistakes, return to old projects and put in the time and effort to retool them to reach even greater heights is admirable and incredible. The amount of work that goes into these deluxe editions of yours, for no financial gain will always impress me and I can’t wait for your next proj-
And I still refuse to work with substandard quality files. An example: Fink and I were preparing a Deluxe Edition of Alien�. He already edited the release (a mixture of OST and ISO). But alas, it will not be done. For the simple reason that I’m unable to extract something akin to "quality" out of those perfect ISO-rip Calidoran had so graciously provided (Fox just pressed the film stems on the Bluray).
…
http://i.imgbox.com/OZprytWu.gif
…
Well, the last word has not been said regarding Alien�. A few days ago Fink practically forced me to listen to it (while I was working on Spidey). The files had been sitting on my harddrive since July 2016 and throughout the year I postponed working on it again and again and again. Because I knew what was waiting for me. And when I finally did listen to it I only thought "Ugh, so much work. And for what?" Should I indeed do it, it won’t be up to my usual standards.
In those cases, I would disable NoScript temporarily. If your Windows (or Linux Distribution) & Firefox (or any other browser) are up to date, nothing will happen to you. For everything else I recommend jDownloader -> Google it and look for PC review sites offering the download. There seems to be something fishy with their official homepage right now.
…
Well, the last word has not been said regarding Alien�. A few days ago Fink practically forced me to listen to it (while I was working on Spidey). The files had been sitting on my harddrive since July 2016 and throughout the year I postponed working on it again and again and again. Because I knew what was waiting for me. And when I finally did listen to it I only thought "Ugh, so much work. And for what?" Should I indeed do it, it won’t be up to my usual standards.
Jokes aside, my opinion is torn. On the one hand, I don’t have a very discerning ear when it comes to music remastering (most of what you say goes over my head), and I’ve enjoyed all of your remastering efforts, even the ones you’re not very fond of. So a remaster from you, even if it’s "not up to scratch" sounds absolutely fine to me. Secondly, Goldenthal’s music (to me at least) notoriously sounds much better in album form than in complete form. Yet after hearing how Fink worked out how to successfully expand The Spirits Within into a really enjoyable listening experience, I have faith that he can do it again. Thirdly, and this will be hard for me to type without gushing, but Alien� is kind of sort of really my absolute favourite score. Ever. And that’s saying something as someone who doesn’t really listen to horror scores at all. Every track has a special place in my heart and it is one of two soundtracks that has never ever left my iPod in 10 years. And let me just leave it at that before I really start gushing.
I might not be the best person to convince you to do it though since, as you might have gathered, I am a tad biased. Also, I feel like you should always keep in the mind the difficulties you had in completing the scores from your community poll (which is why I’m surprised you’re going back to Spider Man 3 after writing about the miserable experience you had remastering it). Don’t feel compelled to do a remastered just because of peer pressure, do it because you want to do it. And if you find that you don’t want to do it, it’s probably for the best to just leave it at that. You won’t my feelings, trust me.
I might not be the best person to convince you to do it though since, as you might have gathered, I am a tad biased. Also, I feel like you should always keep in the mind the difficulties you had in completing the scores from your community poll (which is why I’m surprised you’re going back to Spider Man 3 after writing about the miserable experience you had remastering it). Don’t feel compelled to do a remastered just because of peer pressure, do it because you want to do it. And if you find that you don’t want to do it, it’s probably for the best to just leave it at that. You won’t my feelings, trust me.
Well, I made it abundantly clear what I took away from Spidey 3. And I fear very much that it will be the same with Alien�. That’s why I’m hesitating. And when I started, I just did what I wanted to do. But throughout the last years that has changed a bit. Thanks to this community, thanks to Fink, thanks to Heidl. The results have been a mixed bag, I have to be honest. I worked on stuff I wouldn’t have looked at 10 years ago (Spidey, Pirates of the Caribbean) and I’ve worked on stuff I started to like while I was working on it (Prometheus, Angels & Demons). Alien� is music in danger of being regarded by me as unnecessary or even bad. You disagree, I know. But for me, that’s a probable danger. I really, really hate working on stuff I don’t like. Sometimes I can turn it into mine, sometimes not. That’s also the reason why I take the few jobs I take after careful consideration. After all, it’s basically my hobby and a hobby needs to be fun and relaxing.
So right now I can’t give you an answer if I’m going to do it or not. Spur of the moment thing. I want to do something else first. And I don’t even know if I will manage that one 😀
The SolidFiles link should still be working from the mirrorcreator link.
———- Post added at 12:16 PM ———- Previous post was at 12:10 PM ———-
Oh, I already got it from SolidFiles, thx HunterTech for info. Cheers everyone 🙂
Thanks…
2017 version:
https://mega.nz/#!4wkQ1bDD!3sAlCkv1qT_BntcCdscCTCw6Voye3t1I8HtMaYKzhgM
2015 version:
https://mega.nz/#!shdiDZrK!c5zH_uBgY7MKLBtaTZW0NYLSg7J-EYkKZDgDgCxHsw8
———- Post added at 04:40 PM ———- Previous post was at 04:30 PM ———-
Well, I made it abundantly clear what I took away from Spidey 3. And I fear very much that it will be the same with Alien�. That’s why I’m hesitating. And when I started, I just did what I wanted to do. But throughout the last years that has changed a bit. Thanks to this community, thanks to Fink, thanks to Heidl. The results have been a mixed bag, I have to be honest. I worked on stuff I wouldn’t have looked at 10 years ago (Spidey, Pirates of the Caribbean) and I’ve worked on stuff I started to like while I was working on it (Prometheus, Angels & Demons). Alien� is music in danger of being regarded by me as unnecessary or even bad. You disagree, I know. But for me, that’s a probable danger. I really, really hate working on stuff I don’t like. Sometimes I can turn it into mine, sometimes not. That’s also the reason why I take the few jobs I take after careful consideration. After all, it’s basically my hobby and a hobby needs to be fun and relaxing.
So right now I can’t give you an answer if I’m going to do it or not. Spur of the moment thing. I want to do something else first. And I don’t even know if I will manage that one 😀
Well, since Alien3 is released by La-la land, it’s not necessary to think about it 😉
2017 version:
https://mega.nz/#!4wkQ1bDD!3sAlCkv1qT_BntcCdscCTCw6Voye3t1I8HtMaYKzhgM
2015 version:
https://mega.nz/#!shdiDZrK!c5zH_uBgY7MKLBtaTZW0NYLSg7J-EYkKZDgDgCxHsw8
Wow, thanks a lot for it! And even the 2015 version (which I myself have deleted already).
Well, since Alien3 is released by La-la land, it’s not necessary to think about it 😉
Well, Fink and I actually started working on it. Calidoran provided an excellent rip of the Bluray for us, I downmixed it and gave the resulting files to Fink for editing. After he was finished, I attempted to work on it. But the quality of the recording was so bad that I couldn’t even hide it anymore. Loud pieces weren’t the problem, soft portions were. Since the score was in need of dynamic compression I attempted to make them louder and that was the moment the recording problems were revealed.
I have bought the LLL edition and I have listened to it over loudspeakers (so I can’t say something definitive about its quality). Since that version might profit from dynamic compression as well, I will repeat what I started for Finks and my attempted Deluxe Edition. I hope the quality will be better this time.
I so wish I had a time turner… for its beauty alone 😉
Well, Fink and I actually started working on it. Calidoran provided an excellent rip of the Bluray for us, I downmixed it and gave the resulting files to Fink for editing. After he was finished, I attempted to work on it. But the quality of the recording was so bad that I couldn’t even hide it anymore. Loud pieces weren’t the problem, soft portions were. Since the score was in need of dynamic compression I attempted to make them louder and that was the moment the recording problems were revealed.
I have bought the LLL edition and I have listened to it over loudspeakers (so I can’t say something definitive about its quality). Since that version might profit from dynamic compression as well, I will repeat what I started for Finks and my attempted Deluxe Edition. I hope the quality will be better this time.
I don’t know if you decided to continue working on this, but I’d be very interested to hear the results if so. And just FYI, if you haven’t trashed it all already, the Calidoran rip of the Blu-ray isn’t entirely useless, because as it turns out at least one key cue was missing from the LLL release. Person at FSM wrote: "The "Outbreak of Cholera" cue is missing (the cue that belongs right before "The Cremation"), which is the only thing that keeps this from being absolutely perfect, but otherwise this is the holy grail release I’ve been waiting years for. It sounds incredible and really shows up that dodgy isolated score track on the Blu-ray. Stunning work."
Obviously you can’t make it sound as good, but if there’s anything you can do to salvage that track enough to include with the rest, that would be amazing…
Other helpful comments in FSM thread: "The program is in chronological order, with the puzzling exception of moving 2m1 They Didn’t Survive to just before 4m3 That’s His Boot, joined in the track "That’s His Boot"
At first glance, it appears that 11ma This Was Her Idea is also missing from this set, but it SOUNDS like it was tracked from "Candles in the Wind". Maybe it was never recorded
Also, regarding "Chow Down With The Boys", it sounds like the editors used another take of this cue when they layered it over the scene of Ripley’s EEV scan (listen to how it ends differently than the cafeteria scene)"
LLL guy wrote: "As for the missing track…its just that — missing. Sorry. That’s why we never use the C word any more. We looked and looked and couldn’t find it"
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