Better than nothing.

Has only been leaked in .mp3 form so far though.

Poor puppy. Has to settle for lowly mp3s of a score furbag demanded from people.

Till my cd arrives. :3

Has only been leaked in .mp3 form so far though.


Thats not true...

Well, I don't blame people not finding it with "a simple google search" then.

So well.. PM who wants it and I will send the link. The whole thing is limited to 5000, so I�m pretty sure they will sell all these copys.

So well.. PM who wants it and I will send the link. The whole thing is limited to 5000, so I�m pretty sure they will sell all these copys.

Five posts in seven and a half years? Cor blimey guvnor, you’re in for a riot

So well.. PM who wants it and I will send the link. The whole thing is limited to 5000, so I�m pretty sure they will sell all these copys.

Not if you keep sending links to potential customers they won’t.

Meh. Either give this "special treatment" to every album, or none. MAYniac91, refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox.

well, he's not providing a public link, only by PN. I doubt they wont sell all 5000 copies. The release is extremely sought after.

Banned material extends to open sharing via PM. That cute little "PM me for link! :-) Huh? I'm not sharing it publicly, just through PM... :erm:" trick doesn't fly anymore.

.

Delete your link.


refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox.

But it was only distributed overseas by fox, america wa paramount. SO CONFUSING

[This is N O T a fox release, the motion picture is Fox, and Paramount, but T H I S !!!! is a PARAMOUNT PICTURES, LA LA LAND RECORDS, and SONY MUSIC release. Do you guys read the cute boocklet insert in the set? Okay. no FOX in the information of the discs.
JUST ENJOY !!!!

A mod has asked you to delete the links. Again:


Meh. Either give this "special treatment" to every album, or none... refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox.

If you want to dispute whether it falls under Fox jurisdiction, take it up with LSK. This is the judgment he's made at present though.

https://goo.gl/aNimVb

I love the flawless FOX logo.

I love the flawless FOX logo.

Fox or not, he said not to share it here.

Also this is a discussion thread. If you really want to put the link, at least do it in the proper place.

Titanic was co financed by Fox as seen in the films opening sequence (Paramount Pictures and 20th Century Fox present)

It doesn’t matter that Paramount released the film in the US and Fox internationally. It makes it no less a Fox movie.

It makes no difference what logos appear on the soundtrack.

Titanic was co financed by Fox as seen in the films opening sequence (Paramount Pictures and 20th Century Fox present)

It doesn’t matter that Paramount released the film in the US and Fox internationally. It makes it no less a Fox movie.

It makes no difference what logos appear on the soundtrack.

It is worth mentioning in Fox's archive the recordings to Titanic are kept digitally

The link is still there but he's banned. Kind of pointless now.

I can't remove the link, not a moderator of this forum. I did what I could. Once again the Shrine shines for the inner "stupidity" of its users (well, a few of them). We can't obviously stop anyone from sharing banned stuff, even through private "means", but if you advertise what you're doing… You're just asking to be "removed", even more so when a member of the staff kind of told you to not do such thing.

Link is dead now anyway. Somebody probably flagged it on mega.

Request to change the name of this thread to Titanic Soundtrack Shitposting please?

For anyone who has the new La La Land release, I'm curious as to how in depth the linear notes are. Does it go into detail about any of the questionable choices made in the original OST release, and the subsequent Back To.. release, which really just left me wanting more.

It's always puzzled me why the Southampton track that has been released so far isn't the one used in the movie, particularly as (at least IMHO) the movie cue is far superior. I'm beyond excited at the movie version finally being given the light of day. I'd also love to know more about the music editing choices in the sinking third of the film. There is a lot of incredible action music (some of which appeared in A Building Panic) that appears, but aside from two tracks (which only scratches of the surface of what was heard in the film) that hasn't been released until now, and even in the movie it feels that there was a lot of chopping and mixing of different tracks to create what we heard. Presumably that was more a reflection on the repeated re-edits by Cameron precluding the final cut been properly rescored.

Back to Titanic was one of the biggest disappointments in my years of buying soundtracks. Only one piece of actual film score on the whole album and the rest all newly written re performances and music that had nothing to do with the film. Any actual music from the film they decided to ruin with dialogue.

The album was awful and not what I was hoping for knowing most of the actual music from the film was still unreleased. The original album left a lot to be desired too. Loads of music that isn’t in the film and one track repeated when the film version was unreleased.

Thanks to La La Land Records for getting this new release so right.

For anyone who has the new La La Land release, I'm curious as to how in depth the linear notes are. Does it go into detail about any of the questionable choices made in the original OST release, and the subsequent Back To.. release, which really just left me wanting more.

It's always puzzled me why the Southampton track that has been released so far isn't the one used in the movie, particularly as (at least IMHO) the movie cue is far superior. I'm beyond excited at the movie version finally being given the light of day. I'd also love to know more about the music editing choices in the sinking third of the film. There is a lot of incredible action music (some of which appeared in A Building Panic) that appears, but aside from two tracks (which only scratches of the surface of what was heard in the film) that hasn't been released until now, and even in the movie it feels that there was a lot of chopping and mixing of different tracks to create what we heard. Presumably that was more a reflection on the repeated re-edits by Cameron precluding the final cut been properly rescored.

There is no track analysis in the liner notes.

I do agree with you about Southampton - it was my most desired "holy grail" cue of the entire score, along with Leaving Port.

Cameron being Cameron, he did the exact same thing as with Aliens before it and Avatar afterward, leaving some of the best material written for the film completely absent in favor of looped, tracked, chopped up pieces of music instead.

Aren't the liner notes fairly lengthy? I'm surprised (and disappointed) they don't get more detailed.

Aren't the liner notes fairly lengthy? I'm surprised (and disappointed) they don't get more detailed.

They detail the production and Horner's overall approach, but do not provide a detailed analysis of the specific cues and their usage.

It's more of an essay.

If anyone is looking for a (semi)detailed track analysis, this was pretty helpful http://jameshorner-filmmusic.com/exclusive-review-titanic-expanded-ocean-discoveries/

I know it is impossible without editing as you all said, but can someone show a list with the right film version of each track (which CD version of each track should I use) ? Or the closest to the film versions ? I would like to make a playlist.

I know it is impossible without editing as you all said, but can someone show a list with the right film version of each track (which CD version of each track should I use) ? Or the closest to the film versions ? I would like to make a playlist.

It's not just that it's impossible, but also that James Cameron edits the music awfully to the music; so 99% of the time, the music in the film will have interrumpting cuts, annoying makeovers, or play where they shouldn't. Seriously the best listen is the full LLL album experience.

I know it is impossible without editing as you all said, but can someone show a list with the right film version of each track (which CD version of each track should I use) ? Or the closest to the film versions ? I would like to make a playlist.

I actually tried matching up the cues with footage from the film (a sort of home-made "isolated score" version), but even the key scenes proved impossible. You'd think that such moments as "Leaving Port," "Take Her to Sea, Mr Murdoch," "Hard to Starboard," and "Death of Titanic" would've been easy...but no. As Ponyo said, the music we heard in the film was edited in ways you wouldn't expect, with most of those edits covered by sound effects. The music we heard in the very first underwater scenes isn't actually in "2 1/2 Miles Down," it's from other cues later in the score.

So Ponyo is exactly right--there's really no point to trying to make a "film version" playlist, because the music was so heavily edited you'd never be able to get a true-to-film listening experience without doing some edits of your own.

I've heard some attempts on youtube, it really is just a mess of bits and pieces blended together.

I actually tried matching up the cues with footage from the film (a sort of home-made "isolated score" version), but even the key scenes proved impossible. You'd think that such moments as "Leaving Port," "Take Her to Sea, Mr Murdoch," "Hard to Starboard," and "Death of Titanic" would've been easy...but no. As Ponyo said, the music we heard in the film was edited in ways you wouldn't expect, with most of those edits covered by sound effects. The music we heard in the very first underwater scenes isn't actually in "2 1/2 Miles Down," it's from other cues later in the score.

So Ponyo is exactly right--there's really no point to trying to make a "film version" playlist, because the music was so heavily edited you'd never be able to get a true-to-film listening experience without doing some edits of your own.

It's what I've been saying, but NOT just me - but actual Horner connoiseurs, people who either attempted it, or know how it goes because they did other Cameron movie score - but these people always ignores our advices, thinking we're just saying it because. No, we're saying because know how it deals - and in THIS movie you just can't get a proper film mix. Nothing is chronologically done here.

If you want the best this score has ever been heard, and assembled, the full LLL album presentation is the way to go. It's also assembled chronologically, too.

I already had the chance to listen this new album, and first of all it's INCREDIBLE, amazing work by la-la Land records, and James Horner was a really good composer, he was really inspired when he wrote for this movie. And I think we have what we always wanted...so I'm pretty much satisfied now...of course there is the film version, and that's where we heard this score and started to like these tracks, but you can try make that version used in the movie, it's just tiny details missing (damn you James Cameron ) just kidding XD.

Ps: the only thing that I was little bit disappointed was to, not have the different version of the unable to stay unwilling to leave / the final scene and Hard to starboard ( when the ships it the iceberg, and then appears mr. Andrews with titanic blue prints and the glass of wine) in the movie is slightly different, other than that, all what I have to say is...THANK YOU JAMES HORNER TO WRITE THIS, AND LA LA LAND RECORDS FOR HAVING RELEASED THIS....regards

If anyone is looking for a (semi)detailed track analysis, this was pretty helpful http://jameshorner-filmmusic.com/exclusive-review-titanic-expanded-ocean-discoveries/

Funny thing, that analysis....I wrote it.

Funny thing, that analysis....I wrote it.

I'm reading it and (not that I'm surprised) but it's a good read. Well worth checking out for anyone who's interested in a literate breakdown of the music from the film.

Funny thing, that analysis....I wrote it.

Omg hahaha is that your website?? Nice!

Omg hahaha is that your website?? Nice!

Not my website, but I do write for it and edit content.

---------- Post added at 05:54 PM ---------- Previous post was at 05:54 PM ----------


I'm reading it and (not that I'm surprised) but it's a good read. Well worth checking out for anyone who's interested in a literate breakdown of the music from the film.

I intentionally avoided writing about the score as heard in the film, because that's going to be a separate article.

Not my website, but I do write for it and edit content.

---------- Post added at 05:54 PM ---------- Previous post was at 05:54 PM ----------



I intentionally avoided writing about the score as heard in the film, because that's going to be a separate article.

I look forward to reading it

I intentionally avoided writing about the score as heard in the film, because that's going to be a separate article.

Poor choice of words on my part; I just meant that as a general term, not necessarily what was heard in the film.

Jhfan do you know if Ocean of Memories was supposed to be written to the screen or was it composed specifically for the album?

Jhfan do you know if Ocean of Memories was supposed to be written to the screen or was it composed specifically for the album?

I'm not JHFan, and I'm not sure if it's "Ocean of Memories," but a small bit of trivia related to this that might be of interest.

I read someplace (can't remember where now) that the cue that we hear at the very end of the movie, during the reunion between Jack and Rose, was written to be a lot longer, and was meant to segue into the end credits. Cameron apparently decided he liked the Celine Dion song more, and so the track was cut short (just as Jack and Rose's love was cut short if I remember the explanation right).

I'm not JHFan, and I'm not sure if it's "Ocean of Memories," but a small bit of trivia related to this that might be of interest.

I read someplace (can't remember where now) that the cue that we hear at the very end of the movie, during the reunion between Jack and Rose, was written to be a lot longer, and was meant to segue into the end credits. Cameron apparently decided he liked the Celine Dion song more, and so the track was cut short (just as Jack and Rose's love was cut short if I remember the explanation right).

I know you’re not jhfan -_-

But thank you for your input lol I know you’re trying to help. Appreciate the response.

Jhfan do you know if Ocean of Memories was supposed to be written to the screen or was it composed specifically for the album?

An Ocean of Memories was written for the film's finale, replaced in the finished film with the edited montage of music made up of 'A Life So Changed', 'Rose' and the pipe-less 'Unable to Stay, Unwilling to Leave'.

According to LLL the score has no official slates at all, given how the score was written over the course of shooting and post production. Hymn to the Sea was the end credit music made in case the song was not used, which is why the cue 'Post' is a shorter version of it and why it opens with the same strings the song ends with, allowing for a crossfade.

An Ocean of Memories was written for the film's finale, replaced in the finished film with the edited montage of music made up of 'A Life So Changed', 'Rose' and the pipe-less 'Unable to Stay, Unwilling to Leave'.

According to LLL the score has no official slates at all, given how the score was written over the course of shooting and post production. Hymn to the Sea was the end credit music made in case the song was not used, which is why the cue 'Post' is a shorter version of it and why it opens with the same strings the song ends with, allowing for a crossfade.


This is why I come here. For info like this. Thank you!

Hi ! Well... i'm new user, Anyone have the Digital booklet for LaLa-Land's Titanic 20th Anniversary Release? Would appreciated it. THANKS!!!!

There is no digital booklet... because it's a physical release

Hi ! Well... i'm new user, Anyone have the Digital booklet for LaLa-Land's Titanic 20th Anniversary Release? Would appreciated it. THANKS!!!!

Creating a new account won’t stop you getting banned again.

For anyone who's interessted, a 320k mp3 version is now also up on one popular russian torrent site. ;)

PM me for link 320 MP3.

Hi ! Well... i'm new user, Anyone have the Digital booklet for LaLa-Land's Titanic 20th Anniversary Release? Would appreciated it. THANKS!!!!

Don't you think that is enough, there is already out there links for free download of this album (which nobody has to pay, for the amazing lalaland released) and you still asking for more...c'mon son...you can't have both

PM me for link 320 MP3.

Leon Scott Kennedy said ".....refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox" which also includes refrain from sharing via private message.

Leon Scott Kennedy said ".....refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox" which also includes refrain from sharing via private message.

LSK also remarked about the stupidity of certain members.


Once again the Shrine shines for the inner "stupidity" of its users (well, a few of them). We can't obviously stop anyone from sharing banned stuff, even through private "means", but if you advertise what you're doing… You're just asking to be "removed", even more so when a member of the staff kind of told you to not do such thing.

What does that have to do with anything?

What does that have to do with anything?

That has everything to do wi... with anything. #brainfart

P.S.: As mentioned before, both MP3 and FLAC are available if you GOOGLE IT. So get off the Shrine and go moan somewhere else.

FLAC [...] available if you GOOGLE IT.

nope

Leon Scott Kennedy said ".....refrain from sharing it, it's kind of forbidden around here, thanks to 20th Century Fox" which also includes refrain from sharing via private message.

Ah, I didnt know. Thought PM would be ok, Never mind then. Im still going to work on splicing in tracks to my Expanded Score edition from the album, would that be ok once I am done, to share that? Or NO titanic ever at all? Also, I saw on eBay this selling for about $30 - $50 bucks. Just saying.

we've had titanic expanded score releases before
not sure if that was before or after the FOX ruling set in

nope

Uhm, YES. Learn how to Google...

Its out on mp3 a few places. No matter what I search for I can't come up with a single result for .flac. ;)

Back to Titanic was one of the biggest disappointments in my years of buying soundtracks. Only one piece of actual film score on the whole album and the rest all newly written re performances and music that had nothing to do with the film. Any actual music from the film they decided to ruin with dialogue.

The album was awful and not what I was hoping for knowing most of the actual music from the film was still unreleased. The original album left a lot to be desired too. Loads of music that isn’t in the film and one track repeated when the film version was unreleased.

Thanks to La La Land Records for getting this new release so right.

Well, it had Jack Dawson's Luck which for me complemented the score and also the fullest statement of the main "2 1/2 Miles Down" theme (The Deep And Timeless Sea) which is all too brief on the Ocean of Memories track. For me it is almost inexplicable that these tracks were left out.

Out of curiosity, were there any other tracks that were released with the main/Back To albums that were left out of the 20th Anniversary Edition?

Is Titanic a Disney movie now?,

What does that have to do with anything?

I was just pointing out that not only had LSK said not to share it, but also that it wasn't particularly bright to announce here that you would share it via PM. By that definition, several posters in this thread fall into the "not particularly bright" category. That's all.

I was just pointing out that not only had LSK said not to share it, but also that it wasn't particularly bright to announce here that you would share it via PM. By that definition, several posters in this thread fall into the "not particularly bright" category. That's all.

Are you calling me "not particularly bright"?

Are you calling me "not particularly bright"?

Did you announce openly that you would provide this banned score via PM after LSK specifically asked you not to? Is that behavior that LSK described as "the inner stupidity" of members?

That has everything to do wi... with anything. #brainfart

P.S.: As mentioned before, both MP3 and FLAC are available if you GOOGLE IT. So get off the Shrine and go moan somewhere else.

You seem to be pretty hell-bent on having this shared for free by saying that. I guess those of us who bought it - I spent $83 on it alone, and others have spent their currencies which are higher depending on where you live - felt it was worthy of the money because of how special and important this is. Of course it's available online just like everything else, but that you decide to point that out says a lot.

I did that with my general statement, jedisaurus. I've seen supposed teenagers in other boards (if I have to trust the date of birth they put on their profiles) tackle the whole "sharing stuff which can't be shared on the board" deal way more intelligently: they wouldn't advertise shit, zero, nada… They would just get in touch with their friends and share with them.
In short: they'd take what they could get. I'm talking as someone who has always found dumb "tolerated" PM-sharing threads of banned stuff like Film Score Monthly releases, I seriously find the approach needlessly idiotic and provocative, we're just asking those labels to pull another Var�se Sarabande stunt. At some point we could actually go with my idea of nuking the whole Film, Television and Classical Music Download Links forum… Because there won't be shit actually allowed to get posted, anymore.

There's something which kind of "explains" the crappy situation we've been having at the Shrine, though, I'll give (all of) you that: for some reason here there isn't a proper News/Announcement/Important Thread(s) You Should Read forum, "rules stuff" is scattered all over the place.

Also, this is a goddamn pirate-sharing dump, you find this particular Titanic release special? Good for you, seriously, but don't expect everyone else to share the same opinion. There's nothing wrong with pointing out this can be found on the Web, just be mindful (eh, rules), to not link to anything. Be vague.

You seem to be pretty hell-bent on having this shared for free by saying that. I guess those of us who bought it - I spent $83 on it alone, and others have spent their currencies which are higher depending on where you live - felt it was worthy of the money because of how special and important this is. Of course it's available online just like everything else, but that you decide to point that out says a lot.

And I‘ll order a backup copy of it in some time :) along with Die Hard With A Vengeance :)

You seem to be pretty hell-bent on having this shared for free by saying that. I guess those of us who bought it - I spent $83 on it alone, and others have spent their currencies which are higher depending on where you live - felt it was worthy of the money because of how special and important this is. Of course it's available online just like everything else, but that you decide to point that out says a lot.

Not really. I bought David Shire's Apocalypse Now autographed score, Shearmur's Sky Captain autographed score, Ottman's Superman Returns LLLCD score and the original expanded Warner/Rhino Superman The Movie score in the last two months alone. I plan to buy Titanic as well, once the price drops a bit. I was hell-bent on getting moaners out of here. Rules are rules. Some things can be shared while others can't.

Did you announce openly that you would provide this banned score via PM after LSK specifically asked you not to? Is that behavior that LSK described as "the inner stupidity" of members?

No need to be mean. I am very bright thank you. I thought this was a sharing community, so I assumed we could share. My mistake.

---------- Post added at 02:11 PM ---------- Previous post was at 02:01 PM ----------


I did that with my general statement, jedisaurus. I've seen supposed teenagers in other boards (if I have to trust the date of birth they put on their profiles) tackle the whole "sharing stuff which can't be shared on the board" deal way more intelligently: they wouldn't advertise shit, zero, nada… They would just get in touch with their friends and share with them.
In short: they'd take what they could get. I'm talking as someone who has always found dumb "tolerated" PM-sharing threads of banned stuff like Film Score Monthly releases, I seriously find the approach needlessly idiotic and provocative, we're just asking those labels to pull another Var�se Sarabande stunt. At some point we could actually go with my idea of nuking the whole Film, Television and Classical Music Download Links forum… Because there won't be shit actually allowed to get posted, anymore.

There's something which kind of "explains" the crappy situation we've been having at the Shrine, though, I'll give (all of) you that: for some reason here there isn't a proper News/Announcement/Important Thread(s) You Should Read forum, "rules stuff" is scattered all over the place.

Also, this is a goddamn pirate-sharing dump, you find this particular Titanic release special? Good for you, seriously, but don't expect everyone else to share the same opinion. There's nothing wrong with pointing out this can be found on the Web, just be mindful (eh, rules), to not link to anything. Be vague.

Thank you for the clarification. I was not aware that some things can and some cannot be shared. Oh well. I made a mistake doing the PM thing and wont happen any more. I will still edit my original Titanic score with this material. I seem to have upset you terribly, for which I am sorry. I guess I dont see what I did as any different than anyone else sharing here, as you say its a sharing dump and to be vague. Oh well. If you have such an issue with my posts, please feel free to PM me and explain the situation to me. I am always open here. And one clarification: are ALL Titanic (James Horner) posts forbidden? Say I used tracks from this to splice into my Titanic Edit, can I update my original thread sharing that? Or is it just this 4 Disc set that is forbidden?

No need to be mean. I am very bright thank you. I thought this was a sharing community, so I assumed we could share. My mistake.

---------- Post added at 02:11 PM ---------- Previous post was at 02:01 PM ----------



Thank you for the clarification. I was not aware that some things can and some cannot be shared. Oh well. I made a mistake doing the PM thing and wont happen any more. I will still edit my original Titanic score with this material. I seem to have upset you terribly, for which I am sorry. I guess I dont see what I did as any different than anyone else sharing here, as you say its a sharing dump and to be vague. Oh well. If you have such an issue with my posts, please feel free to PM me and explain the situation to me. I am always open here. And one clarification: are ALL Titanic (James Horner) posts forbidden? Say I used tracks from this to splice into my Titanic Edit, can I update my original thread sharing that? Or is it just this 4 Disc set that is forbidden?

Who's being mean? I asked two simple questions:

1) Did you announce openly that you would provide this banned score via PM after LSK specifically asked you not to, and
2) Is that behavior that LSK described as "the inner stupidity" of members?

The truthful answer to both of those questions is yes. There's really no argument that supports us being mean when you engaged in prohibited behavior.

And you can complain about this not being a "sharing community" all you like--it is, except under certain circumstances, those being when we can't share content from entities such as FOX and Varese. Stay within those guidelines and you can share all you like. Break the rules and you get banned, as another poster in this thread found out (twice).

Well, it had Jack Dawson's Luck which for me complemented the score and also the fullest statement of the main "2 1/2 Miles Down" theme (The Deep And Timeless Sea) which is all too brief on the Ocean of Memories track. For me it is almost inexplicable that these tracks were left out.

Jack Dawson’s luck had nothing to do with the film and had no place on the soundtrack. Why give us a newly written track (The deep and timeless sea) when the actual tracks written for the film (2 1/2 miles down for example) is missing.

New suites of music was not what I was looking for with the 2nd Titanic album. Thankfully it’s all been rectified now. Just a shame it had to take so long.

Who's being mean? I asked two simple questions:

1) Did you announce openly that you would provide this banned score via PM after LSK specifically asked you not to, and
2) Is that behavior that LSK described as "the inner stupidity" of members?

The truthful answer to both of those questions is yes. There's really no argument that supports us being mean when you engaged in prohibited behavior.

And you can complain about this not being a "sharing community" all you like--it is, except under certain circumstances, those being when we can't share content from entities such as FOX and Varese. Stay within those guidelines and you can share all you like. Break the rules and you get banned, as another poster in this thread found out (twice).

Got it. I just dont like being called stupid. I didnt see his post, so i didnt know. I know now, so retract the statement. I did not see his post specifically to me because he didnt quote me on it, so I didnt see it. How come FOX and Verase cant be shared? Does that mean no Star Wars music can be shared as well? And the best way to go about it would be to explain the situation and tag me, say DUDE!! CANT SHARE IT!! SEE LSK POST, HES THE BOSS!! GONNA GET BANNED IF YOU DONT LISTEN, MAN! :) I woulda said: OH MAN! SORRY! TOTALLY DIDNT MEAN TO DO SOMETHING AGAINST THE RULES! SO SORRY!! See how easy that is? HAHA! :)

And still havent answered my last question about the edit. ALL Titanic music or JUST this Set is forbidden? Sources from the original album, back to titanic, youtube, jean bakers edits, recreated score: are those banned too?

which program is good to edit music, I use audacity (I think is ok) is pretty much complete, but I would like to hear others opinions.
by the way a name of a good software to reduce sound effects, I'm trying to reduce the applauses from Titanic last scene, thank god is just a few seconds, regards

Audacity is best, but for removing effects that can be tricky business....Adobe Audition is a great program.

iZotope RX

iZotope RX

I know with the right tools you can do a world of good with restoration and if used correctly, iZotope RX is a great tool but for editing, it’s very very limited there. Personally when stitching cues of varying sources together I use Sony Vegas because it’s super flexible and simple to get the hang of but like with iZotope RX, you’d really only wanna use it for final mastering purposes. For removing SFX, Adobe Audition is a dream once you can figure it out and isn’t perfect by any means but gives you a buttload of nifty tools. Audacity is a free and portable alternative but I’d only ever use that if I were desperate. Once I’ve finished my mix and exported from Sony Vegas to WAV, I do all the final leveling, removing of any clicks, pops and whatnot that I might’ve missed during the editing process and final FLAC mastering with Sony Sound Forge.

A nifty thing about Sony Vegas is that if you’re working with cues of varying quality with one sounding clear and the other flat, you can export the “flat” pieces to Sound Forge within the Vegas application and add an equalizer effect to it or if there’s pops, clicks or crackle you can clean that up then just save the edits with Sound Forge which will reflect in Vegas. Then whenever it sounds the way you want, just export from Vegas to WAV then do all final leveling and such in Sound Forge. It sounds complicated but it’s actually really easy once you do it a few times.

iZotope RX

Yes. Great tool to repair all kinds of defects.

Audacity is a free and portable alternative but I’d only ever use that if I were desperate.


Funny you saying that, considering every single piece of music I have ever edited, merged, enhanced, filtered....you name it

Literally everything I have ever done with audio was done with Audacity.

My point being, I've never needed the best, most complex, most expensive tool. Audacity has suited every single one of my needs to the letter, and I proudly stand by that.

for editing music audacity was always fine for me
but I also always felt there was probably a better vocal remover out there, considering what I have seen some rippers accomplish

Audacity is probably a great application but I downloaded it after having used Audition and I just couldn't bother to really learn it so I have used Audition for all editing I've ever done.

For anyone who's interested, the FLAC version is now out on a certain russian soundtrack site.

We can now forget about this thread; it was fun while it lasted...

For anyone who's interested, the FLAC version is now out on a certain russian soundtrack site.

We can now forget about this thread; it was fun while it lasted...

Why should we "forget about this thread"? It's a discussion thread...not a thread for download links.

For anyone who's interested, the FLAC version is now out on a certain russian soundtrack site.

We can now forget about this thread; it was fun while it lasted...

What russian soundtrack site?

A question for members who use Audacity for editing music: Is Audacity similar to Wavepad Sound Editor in terms of design/layout, functions, and ease of use? I am not tech savvy at all and have been using the free version of Wavepad for many years for very basic editing like shortening tracks, merging tracks, and adding fade-ins/outs. I am just curious how the two programs compare and if I would have any difficulty adapting to the Audacity software should I decide to switch programs. Thank you for any help you can share and take care over the holidays!!!

A question for members who use Audacity for editing music: Is Audacity similar to Wavepad Sound Editor in terms of design/layout, functions, and ease of use? I am not tech savvy at all and have been using the free version of Wavepad for many years for very basic editing like shortening tracks, merging tracks, and adding fade-ins/outs. I am just curious how the two programs compare and if I would have any difficulty adapting to the Audacity software should I decide to switch programs. Thank you for any help you can share and take care over the holidays!!!

I used WavePad Sound for a long time before I got stuck too often because of the limits of the free version so I switched for good on Audacity. Hard to get the hand of at the beginning because the interface of Wavepad is more intuitive but give it a few projects on Audacity and the process of adaptation goes quite smoothly (my opinion). Audacity also gives more features if you decide to level up in terms of sound editing.

What russian soundtrack site?



3ost

Sooo I'm kinda way late on the Titanic score cruise, I wanna ask: With this new release by LLL, is there any music that is missing from release? Or this LLL has everything of everything?

Sooo I'm kinda way late on the Titanic score cruise, I wanna ask: With this new release by LLL, is there any music that is missing from release? Or this LLL has everything of everything?

This time LLL seems to have given us everything--but temper your expectations because if you know how Horner/Cameron collaborations tend to shape up, the music was heavily edited to bring what we hear in the film. The distinctions have been extensively discussed in this thread, so I won't bore you with details, but two things to know:
1) The LLL release describes as "Alternate" some things that were used in the film, while the non-alternate versions were what we got on the past albums...weird, and;
2) If you listen closely to the music in the film, you can hear some of the main themes, but the music was extensively edited from the original cues into the film mixes, and you won't be able to get a true-to-film playlist

This version did omit the Celine Dion song, but I don't really miss it considering it was *everywhere* for years after the film came out.

All that being said, the remastering in this version is terrific, and even if you bought both of the other albums, this one is worth getting because the sound quality is amazing.

Oooh cool, even if music is not used, being available is awesome.

Also,' nother question, the track when the water pours through the ceiling glass and takes down doors and all of that, is that one present in the LLL version?

Oooh cool, even if music is not used, being available is awesome.

Also,' nother question, the track when the water pours through the ceiling glass and takes down doors and all of that, is that one present in the LLL version?


This time LLL seems to have given us everything

I think that pretty much sums it up.

Oooh cool, even if music is not used, being available is awesome.

Also,' nother question, the track when the water pours through the ceiling glass and takes down doors and all of that, is that one present in the LLL version?

That choir moment is on this edition but doesn't appear in the sinking music as the film version is an edit. You can hear it in Trapped on D deck and the album version of a building panic (from BTT)

Awesome!

The only thing you cant really make from this release is a few tracks as they appear to use synths from a completely different source/movie

I don't see "Jack Dawson's Luck", "A Shore Never Reached" and "Lament" from Back to Titanic on this release. The tracks might be just edits of different tunes though. Also it's missing the Celine Dion song for obvious copyright reasons.

Jack Dawsons Luck is an unused alternate rerecording I think
and A Shore Never Reached was just a suite of stuff

The lovemaking alternate version of Rose appears to be missing - or can someone locate it ?

"Back to Titanic" was less a release of the film score as it was a collection of suites and such--I don't really count that as a source of new material from the film.

There are three missing snippets I could identify, correct me if I am wrong:

1. During the film edit of 2 1/2 miles down, there is a short string section similar to nearer my God to thee, in the film you hear it right before they discover the piano;

2. The already mentioned lovemaking Rose version;

3. The flute playing over James Cameron's credit.

There are three missing snippets I could identify, correct me if I am wrong:

1. During the film edit of 2 1/2 miles down, there is a short string section similar to nearer my God to thee, in the film you hear it right before they discover the piano;

2. The already mentioned lovemaking Rose version;

3. The flute playing over James Cameron's credit.

Lovemaking Rose version is in this edition. It's the end of the track Rose (ost version or alternate ? Don't know... :) )

Agree with the point 3. : the flute playing is missing.

And don't forget The Chase which is not the same as it's heard in the movie.
More, Unable to stay, Unwilling to Leave is not the film version (just some more instruments in the action part of the track compared to the film version).

Lovemaking Rose version is in this edition. It's the end of the track Rose (ost version or alternate ? Don't know... :) )

It is close to the ost version of Rose, but it is one octave higher and a different flute, in addition the vocals are dialed down.

"Back to Titanic" was less a release of the film score as it was a collection of suites and such--I don't really count that as a source of new material from the film.

It is all music meant for the film tho, and some of it was played in the film
so it counts

also all the other edits mentioned on this page are just that, edits
editorially created after the sessions (like how 'Unable' has no flutes during the romantic part. though I dont hear any difference in the action part)

or tracks were just re-arranged like the 'Lovejoy Chases Jack and Rose' scene (though also given a bit more instrumental overlay during the 2nd part)

dont even get started on film mixes like 'the sinking'

There are three missing snippets I could identify, correct me if I am wrong:

1. During the film edit of 2 1/2 miles down, there is a short string section similar to nearer my God to thee, in the film you hear it right before they discover the piano;

2. The already mentioned lovemaking Rose version;

3. The flute playing over James Cameron's credit.

I think the string section from 2 1/2 miles down you are referring to can be heard in the Titanic Behind the Scenes video below if I am not mistaken (from 8:13 to 9:00):

https://www.youtube.com/watch?v=kLvDrVnmBqg

I should get my copy soon (Christmas gift!), but I'm guessing this cue would show up somewhere on disc 4. Is it one of the shorter tracks on that disc?

Yes, that is it! I couldn't find it on disc 4 though, but maybe I just missed it :D

Got my copy today.... really impressive music!

Problem with mine !!! I was supposed to receive it thursday, 21... but nothing in my mail box !! :( :(
Except internet said "Le colis a �t� livr�" in french... so where is it ??!?! Lost or stolen ? ... :(

Just making some edits and I found on my external hard drive some old files from titanic that I downloaded along these years...there's one MP3 file named TITANIC UNRELEASED GRAIL, and contains a lot of unreleased material (now there is a CD ) cues like Southampton film version, alternate end from take her to the sea mr.murdoch, and more...but the sound quality is really, really bad...so my point...I'm try to edit the last scene like the film version (the dream or heaven or whatever is called) and the old and poor sound quality of that unreleased Grail has that, but the sound is very bad and I can't understand if there is the applauses ... So it means whoever released that Grail has the film version full and clean of the film finale or not ? Can someone help?

Ps: did I someone already answer this During 2 1/2 miles down, there is a short string section similar to nearer my God to thee....what is the name of that track?

Just making some edits and I found on my external hard drive some old files from titanic that I downloaded along these years...there's one MP3 file named TITANIC UNRELEASED GRAIL, and contains a lot of unreleased material (now there is a CD ) cues like Southampton film version, alternate end from take her to the sea mr.murdoch, and more...but the sound quality is really, really bad...so my point...I'm try to edit the last scene like the film version (the dream or heaven or whatever is called) and the old and poor sound quality of that unreleased Grail has that, but the sound is very bad and I can't understand if there is the applauses ... So it means whoever released that Grail has the film version full and clean of the film finale or not ? Can someone help?

Ps: did I someone already answer this During 2 1/2 miles down, there is a short string section similar to nearer my God to thee....what is the name of that track?

The TITANIC UNRELEASED GRAIL MP3 was sourced from the Titanic Behind the Scenes video I linked a few posts back. That video does include the film mix of the final scene, however as you mentioned the quality is pretty poor since it is isolated to one channel. There shouldn't be applause in that particular clip though. Unfortunately I don't think there would be a higher quality version available since the Youtube clip was probably sourced from a VHS tape (although I could be wrong).

As for the short string section of 2 1/2 Miles Down, it is apparently titled "2 1/2 Miles Down - Violin Tool Kit" and has also not been released. However, it can be heard in full in the Behind the Scenes video from 8:13 to 9:00. Since it is isolated in one channel it should be possible to extract it and turn it into a stereo track if you are hoping to make a film edit. I am looking at making a film version of 2 1/2 Miles Down just for fun and will be giving it a try.

Yes the film version contains strings from Nearer My God to Thee, as well as a few piano keys when the camera cuts to the piano

I have been working on a film version of 2 1/2 Miles Down and it's amazing how many tracks the film editors managed to mix together in the film. I have a set of 2 1/2 Miles Down film version "elements" I have created as part of my project that I can upload assuming that is allowed. For example a short section of "Nearer My God to Thee" with ghostly echo, the ghostly version of Sissel's voice when the doll's face is shown, a widened-stereo version of "Violin Tool Kit", etc. Maybe they will come in handy for anyone else who is crazy enough to attempt a film edit. :)

I still dont understand why people are so obsessed with that violin tool kit myself
but hey more power to them

The edition/edit I have is from different sources (complete, sfx free now!) and some tracks are recreated (I forget by whom). They are most of the tracks early in the film - from the opening titles to Rose sunset and are all film versions and i must say pretty good! 2 1/2 miles down is superb. Anyone remember who did those tracks?

I have been working on a film version of 2 1/2 Miles Down and it's amazing how many tracks the film editors managed to mix together in the film.

James Cameron. It was James Cameron.

Yes I think that about sums it up, haha.

Below is a link to a few short clips I made as part of my 2 1/2 Miles Down film edit. Just thought I would post this in case anyone is interested. Most of the film edits in Titanic are a jumbled mess, but 2 1/2 Miles Down is one of the few cues where a film edit is still a good listening experience (in my opinion), so I thought it would be fun to try.

The clips are all in FLAC for consistency but some of the sources are of a lower quality of course, such as Violin Tool Kit.

https://mega.nz/#!TRcTVbrB!5Kw3tW9lpNIik-_0lSxZs1uKAGuYy4aYAPaVf3F1vCY

- "Ghostly Synth" seems to subtly run in the background of some portions of the wreck sequence in the movie so I included it.
- "Hymn to the Sea - Film Edit (Ghostly Echo)" includes the ending strings from "Post" twice along with the opening vocal taken from "Hymn to the Sea", with echo effect.
- "Hymn to the Sea - Vocals Only (Ghostly Echo)" is just the vocal portion with echo effect. Luckily I was able to almost fully isolate this to just Sissel's voice using the multi-channel version of the track.
- "Nearer My God to Thee" includes two versions with varying levels of echo effect. This is just a short segment heard while exploring the wreck.
- "Pulse" is the background pulse near the end of the film sequence, looped. I slowed down the tempo to match the tempo of "A Promise Kept (Alternate)" so it sounds better when they are combined. In the movie I think the pulse is a bit more erratic, but as a listening experience I think this version works better.
- "Violin Tool Kit (Film Version)" was taken from the mono channel of the Behind the Scenes video. I was able to duplicate the mono track into left/right stereo channels and then slightly offset them to make it sound a bit "wider". I also slowed it down by 35% to match what appears in the film.
- "Violin Tool Kit" is the original full version of this track in widened stereo for anyone interested.

The only major part I haven't tracked down is the "Wild Piano" cue when they pass the piano. Maybe somebody skilled with a piano can make their own version. :)

I have been working on a film version of 2 1/2 Miles Down and it's amazing how many tracks the film editors managed to mix together in the film. I have a set of 2 1/2 Miles Down film version "elements" I have created as part of my project that I can upload assuming that is allowed. For example a short section of "Nearer My God to Thee" with ghostly echo, the ghostly version of Sissel's voice when the doll's face is shown, a widened-stereo version of "Violin Tool Kit", etc. Maybe they will come in handy for anyone else who is crazy enough to attempt a film edit. :)

I have been working on a complete film mix for the last 5 weeks and I'm almost done. I've got everything covered, completely SFX free. You can call me what you like... :)

I have been working on a complete film mix for the last 5 weeks and I'm almost done. I've got everything covered, completely SFX free. You can call me what you like... :)

would be nice to hear this at some point mate :)

You can call me what you like... :)

I call you dedicated and energetic. If you share, I'll call you awesome!

I have been working on a complete film mix for the last 5 weeks and I'm almost done. I've got everything covered, completely SFX free. You can call me what you like... :)

That's awesome! With how much work and time it is taking me for just one track, I can appreciate how much of an effort that must be. If you are willing to share when it's ready I would love to hear it too.

ontario528 That's very good...

Thanks Jokerslb, I appreciate it!

Working on 2 1/2 Miles Down, it's amazing the attention to detail James Cameron had. There is a point in the movie where they mention "Snoop Dog is on the move". At that point, part of "An Ocean of Memories" (from 3:57 - 4:13) is layered on top of "2 1/2 Miles Down" (from 2:57 - 3:10). These two sections are from entirely different tracks but work together very well (so much that when I first heard the version of 2 1/2 Miles Down on the LaLaLand release it almost felt like something was missing). Working on my edit, when I tried to layer the tracks together I noticed that they seem to be at pretty different tempos, while in the film they appear to match perfectly. So unless I am hearing things, this means Cameron must have slowed down the portion from "2 1/2 Miles Down" (from 2:57 - 3:10) so that the notes were in sync. It's a minor detail, but I find it pretty interesting.

Thanks Jokerslb, I appreciate it!

Working on 2 1/2 Miles Down, it's amazing the attention to detail James Cameron had. There is a point in the movie where they mention "Snoop Dog is on the move". At that point, part of "An Ocean of Memories" (from 3:57 - 4:13) is layered on top of "2 1/2 Miles Down" (from 2:57 - 3:10). These two sections are from entirely different tracks but work together very well (so much that when I first heard the version of 2 1/2 Miles Down on the LaLaLand release it almost felt like something was missing). Working on my edit, when I tried to layer the tracks together I noticed that they seem to be at pretty different tempos, while in the film they appear to match perfectly. So unless I am hearing things, this means Cameron must have slowed down the portion from "2 1/2 Miles Down" (from 2:57 - 3:10) so that the notes were in sync. It's a minor detail, but I find it pretty interesting.

And that's only one track... you have no idea how maniacal Cameron was in his final cut... literally micro-editing bits and pieces... I have never seen this and I've done quite some mixes. I do understand now why Horner had difficulties working with him, it's working with an extreme perfectionist. And by doing this film mix, it really gives me the opportunity to look into the mind of a genius. Apart from the messy cuts and mixing, it all makes sense to me. I started to understand why he did this and that and learned to appreciate it. It already was (and still is) a fantastic score, but you'll love it even more if you could see it from my point of view.

I think 2 1/2 Miles down is the most complex of the tracks though
(A promise Kept/Suicide Attempt being similarly convoluted)

for most cases you can just track in parts and pieces without the need for overlays
(and dont even get me started on how often you hear that one segment from 'suicide attempt')

and in most cases I do really prefer the album originals over camerons edits

I think 2 1/2 Miles down is the most complex of the tracks though
(A promise Kept/Suicide Attempt being similarly convoluted)

for most cases you can just track in parts and pieces without the need for overlays
(and dont even get me started on how often you hear that one segment from 'suicide attempt')

and in most cases I do really prefer the album originals over camerons edits

Yes you're right but it's the trick to find the right pacing...the sinking in particular was very daunting, in fact I reworked that track completely. And yes, I also like the LLL release much more (originals not so much). You'll be head-scratching by some of the edits on my version. But that's how Cameron cuts.

Yes you're right but it's the trick to find the right pacing...the sinking in particular was very daunting, in fact I reworked that track completely. And yes, I also like the LLL release much more (originals not so much). You'll be head-scratching by some of the edits on my version. But that's how Cameron cuts.

I'd love to hear it when it's done :D

I'd love to hear it when it's done :D

Wishlist: Titanic Recording Sessions

I don't have that, but I guess a complete film mix is close enough? :)

And that's only one track... you have no idea how maniacal Cameron was in his final cut... literally micro-editing bits and pieces... I have never seen this and I've done quite some mixes. I do understand now why Horner had difficulties working with him, it's working with an extreme perfectionist. And by doing this film mix, it really gives me the opportunity to look into the mind of a genius. Apart from the messy cuts and mixing, it all makes sense to me. I started to understand why he did this and that and learned to appreciate it. It already was (and still is) a fantastic score, but you'll love it even more if you could see it from my point of view.

That's a good point that by recreating the film edit you can come to appreciate the score even more and get an appreciation for why Cameron choose to make certain edits. If you have been keeping track of all the edits you had to make for your full film mix, I'm sure it will be a novel by the time it is finished! :) But having that list makes it even more interesting to listen to, since at first listen you can miss subtle edits. Like the example in my previous post where one track is slowed down to match another.

Many of the subtle edits are interesting. Another I noticed is in the film version of "Rose's Suicide Attempt". The film version ends with a section of "A Promise Kept" (from 4:12 to 5:12) as Rose approaches the back of the ship and then hangs off the edge. With the way the track fades out, that would have been a perfectly good edit. But then, for some reason as Jack says "don't do it", it sounds like Cameron also adds a short section of the ambience from earlier in "A Promise Kept" (from 1:25 to 1:35) to close out the cue. There must have been a reason he deliberately added that short section in, maybe to capture a certain emotion? Or maybe the cue faded out slightly too soon and he wanted something to extend the track.

That's a good point that by recreating the film edit you can come to appreciate the score even more and get an appreciation for why Cameron choose to make certain edits. If you have been keeping track of all the edits you had to make for your full film mix, I'm sure it will be a novel by the time it is finished! :) But having that list makes it even more interesting to listen to, since at first listen you can miss subtle edits. Like the example in my previous post where one track is slowed down to match another.

Many of the subtle edits are interesting. Another I noticed is in the film version of "Rose's Suicide Attempt". The film version ends with a section of "A Promise Kept" (from 4:12 to 5:12) as Rose approaches the back of the ship and then hangs off the edge. With the way the track fades out, that would have been a perfectly good edit. But then, for some reason as Jack says "don't do it", it sounds like Cameron also adds a short section of the ambience from earlier in "A Promise Kept" (from 1:25 to 1:35) to close out the cue. There must have been a reason he deliberately added that short section in, maybe to capture a certain emotion? Or maybe the cue faded out slightly too soon and he wanted something to extend the track.

Yes, Cameron is a master in tracking music to match his scenes. He'll do whatever is necessary to achieve that, including miniscule loops, extra beats, faster/slower... everything you can think of... just to get that small piece of music on the right spot. Cameron is a master in triggering an emotional reaction. I was amazed how he edited The sinking, so much stuff going on, creating that mix must have taken him weeks to accomplish. Hell, it even took me weeks to reverse-engineer the damn thing :)

Wishlist: Titanic Recording Sessions

I don't have that, but I guess a complete film mix is close enough? :)

I can't seem to change or delete my signature but a complete film mix is definitely more than enough ;)

knowing how camerons scores work
his film mixes were probably way post recording sessions

Wishlist: Titanic Recording Sessions

I don't have that, but I guess a complete film mix is close enough? :)

I would love to hear your film edit as well :)

Still working on "TWO AND HALF MILES DOWN - Film Version" and I rip my titanic bluray movie and move the audio to the editing tool that I'm using and with the multi channel sound is a lot easy to make the edits, but there is one cue that I can figure out, it's around 4:15 to 4:20 (movie time) right before that ghostly violin version of the Nearer My God to Thee, when Brock says " alright enough of bullshit...." Still don't know What part of 2 1/2 miles down soundtrack version is that or is other track.

By the way, I already finished the film version of:

-Leaving Southampton;

-Unable to stay, unwilling to leave ;

-Third class corridors/Trapped on D Deck( still don't know what to call this track, at the scene right after unable to stay, when jack and rose try to save the kid) any more ideas for the name, would be great ;)

-Take her to the sea mr.murdoch;

-Women and children only;

-No one to pull me back;

-the dream/old rose dies/heaven (same thing with the name) personally I think an ocean of memories is not bad at all, or the heart of the ocean, but this last I think that is not appropriated, I'm going to see the chapter name XD

Just to stay, of all those tracks, two and half miles down is the hardest...Although the others are also a few time spender

Still working on "TWO AND HALF MILES DOWN - Film Version" and I rip my titanic bluray movie and move the audio to the editing tool that I'm using and with the multi channel sound is a lot easy to make the edits, but there is one cue that I can figure out, it's around 4:15 to 4:20 (movie time) right before that ghostly violin version of the Nearer My God to Thee, when Brock says " alright enough of bullshit...." Still don't know What part of 2 1/2 miles down soundtrack version is that or is other track.

By the way, I already finished the film version of:

-Leaving Southampton;

-Unable to stay, unwilling to leave ;

-Third class corridors/Trapped on D Deck( still don't know what to call this track, at the scene right after unable to stay, when jack and rose try to save the kid) any more ideas for the name, would be great ;)

-Take her to the sea mr.murdoch;

-Women and children only;

-No one to pull me back;

-the dream/old rose dies/heaven (same thing with the name) personally I think an ocean of memories is not bad at all, or the heart of the ocean, but this last I think that is not appropriated, I'm going to see the chapter name XD

Just to stay, of all those tracks, two and half miles down is the hardest...Although the others are also a few time spender

I'd love to listen to those too :D

Still working on "TWO AND HALF MILES DOWN - Film Version" and I rip my titanic bluray movie and move the audio to the editing tool that I'm using and with the multi channel sound is a lot easy to make the edits, but there is one cue that I can figure out, it's around 4:15 to 4:20 (movie time) right before that ghostly violin version of the Nearer My God to Thee, when Brock says " alright enough of bullshit...." Still don't know What part of 2 1/2 miles down soundtrack version is that or is other track.

I do that as well; having access to the channels really helps and you actually discover stuff that was lost because of SFX - for example, I never noticed the end of the boiler room scene actually includes the small harps that close Lovejoy Chases Jack and Rose. As for the scene with Brock, all I hear before Nearer My God To Thee is the actual start of Two And A Half Miles Down, around the 10 seconds mark...


Yes, Cameron is a master in tracking music to match his scenes. He'll do whatever is necessary to achieve that, including miniscule loops, extra beats, faster/slower... everything you can think of... just to get that small piece of music on the right spot. Cameron is a master in triggering an emotional reaction. I was amazed how he edited The sinking, so much stuff going on, creating that mix must have taken him weeks to accomplish. Hell, it even took me weeks to reverse-engineer the damn thing :)

Are you talking about the 10+min sinking after Nearer My God To Thee ? That one was one of the first to be ready for me but yeah I'll admit that there were some very tricky parts - with some that I'm still not satisfied of (the part at 1:03 of Death of Titanic notably is different in the movie, it's as if Cameron "squeezed" it a bit)

Are you talking about the 10+min sinking after Nearer My God To Thee ? That one was one of the first to be ready for me but yeah I'll admit that there were some very tricky parts - with some that I'm still not satisfied of (the part at 1:03 of Death of Titanic notably is different in the movie, it's as if Cameron "squeezed" it a bit)

Yes, it's micro-edited in a lot of places.

some of of these microedits sounds like they're not worth recreating honestly
especially Cameron criminally silencing that part where the lights go off

Almost in the end of two and half miles down, and in this final part I think is missing some material, and not the part with that pulse sound...before that

That's the difficult thing about this mix, even with isolated channels and volume on high, it was not always clear to me what part of the music was playing... there are so many layers of SFX/ambient sounds in those channels that the music gets severely underscored. This is very obvious in 2 1/2 miles down, The sinking has this issue too. But I do think I worked my way around it, but hell yes, it was difficult at times. Also very noticable in the source cues, which are playing in the background (on much lower volume) by design, but I was able to figure it out.

That's why, as many of you have already said, a complete film mix of Titanic is basically, not worth it. Although I have an obsession for film mixes (oh really?), I must say that this one is absolutely NOT the best listening experience. If you stick to the orginal cuts of the film, like I did, you'll notice it's bugged. Cameron got away with it with adding lots of SFX and it does work perfectly in the film, but not as an isolated track. Yeah sure, I could fix it and make it more enjoyable. But that's not sticking to the concept of creating a true film mix. LLL did a good job in presenting the score in a most pleasable way.

Well when it's all said and done, I'll definitely be looking forward to your edit of this score. Your other edits were spectacular as well.

For those of you making a film mix, I really must commend you for your efforts because as it has been made perfectly clear, the score is completely butchered and recreating that is a massive task and probably an incredibly tedious one at that. Editing can be a very mundane, frustrating experience as much as it can be thrilling at times when you achieve something you've been working at for a long time and get into the zone.

While I do agree that Cameron's choices do work, there are times in at least two of the three Horner/Cameron films where some of his choices simply don't and are actually quite terrible. The most glaringly bad editorial choices were the "War" sequence of AVATAR. Comparing what Cameron and company edited together with what Horner actually wrote for the 16 minute sequence, Horner's original intention wins hands-down. His score for that sequence was perfectly done, and whenever I watch that film now I cannot ignore what was done in post to the score, I can't "unhear it" the way someone says they see something once and can't "unsee it". For ALIENS, the use of "Queen To Bishop" ("Bishop Stabbed") for Ripley's nightmare was way too over the top.

There are two ways to approach a film mix for something like TITANIC:

-Recreate every edit, every truncated track, every loop. An isolated score recreation, completely faithful and can lay it into the film.

-Create the impression of the film mix, using the elements the film mix had but without the awful editing and make it more coherent, more musically sound. All the moments are there, but the awkward editing isn't.

A perfect example of the latter would be to do the 'film mix' of "Southampton". The difference between the original cue and the film version edit is that the film version has added chimes, a slower string section (which is actually from the Trailer music cue, not a slowed-down mix of the cue) and an extended closing synth voice eliminating the foreshadowing darker tone.

It also shortens two sections of the cue early on making it sound awkward, but if the cue is kept at its original length but the film mix elements are added in, then you have a more musically sound version of the film mix without the bad editing. Basically a "Film Mix" instead of a "Film Edit".

Either way, whatever your approaches are, it's sure to be a hell of a task.

There are two ways to approach a film mix for something like TITANIC:

-Recreate every edit, every truncated track, every loop. An isolated score recreation, completely faithful and can lay it into the film.

-Create the impression of the film mix, using the elements the film mix had but without the awful editing and make it more coherent, more musically sound. All the moments are there, but the awkward editing isn't.

A perfect example of the latter would be to do the 'film mix' of "Southampton". The difference between the original cue and the film version edit is that the film version has added chimes, a slower string section (which is actually from the Trailer music cue, not a slowed-down mix of the cue) and an extended closing synth voice eliminating the foreshadowing darker tone.

It also shortens two sections of the cue early on making it sound awkward, but if the cue is kept at its original length but the film mix elements are added in, then you have a more musically sound version of the film mix without the bad editing. Basically a "Film Mix" instead of a "Film Edit".

Either way, whatever your approaches are, it's sure to be a hell of a task.

Not all source material is available (yet), so creating the perfect film mix is impossible... like you said, it's merely an interpretation and the closest thing to what could be a complete edit. I think my mix lays somewhere in between those 2 approaches... I caught myself a few times, tweaking the mix to to be a little bit less awkward, but I reverted it because I wanted to stay true to the original cut. But yes, that doesn't make it better. But let's be honest at this point, as far as I know, a complete film mix, with all the elements included (and with all the source cues edited in), just doesn't exist... people just have to take it as it comes. And you can love my mix, or you hate it. That's up to you, but don't blame me for trying to make the best out of it. And you can be picky about everything, but hey, don't let that get you in the way for not making a mix yourself.

I've been working 5 weeks on this mix, and I'm getting there, a 'rough' cut has been finished, but still needs a bit of polishing. I expect a first version to be (not finished, because like all my mixes, it's a neverending project) done soon.

Can you give us, a sneak peek

Not all source material is available (yet), so creating the perfect film mix is impossible... like you said, it's merely an interpretation and the closest thing to what could be a complete edit. I think my mix lays somewhere in between those 2 approaches... I caught myself a few times, tweaking the mix to to be a little bit less awkward, but I reverted it because I wanted to stay true to the original cut. But yes, that doesn't make it better. But let's be honest at this point, as far as I know, a complete film mix, with all the elements included (and with all the source cues edited in), just doesn't exist... people just have to take it as it comes. And you can love my mix, or you hate it. That's up to you, but don't blame me for trying to make the best out of it. And you can be picky about everything, but hey, don't let that get you in the way for not making a mix yourself.

I've been working 5 weeks on this mix, and I'm getting there, a 'rough' cut has been finished, but still needs a bit of polishing. I expect a first version to be (not finished, because like all my mixes, it's a neverending project) done soon.


There's more than what's on disc 4 of the LLL release? (as far as source material goes)

Not all source material is available (yet), so creating the perfect film mix is impossible... like you said, it's merely an interpretation and the closest thing to what could be a complete edit. I think my mix lays somewhere in between those 2 approaches... I caught myself a few times, tweaking the mix to to be a little bit less awkward, but I reverted it because I wanted to stay true to the original cut. But yes, that doesn't make it better. But let's be honest at this point, as far as I know, a complete film mix, with all the elements included (and with all the source cues edited in), just doesn't exist... people just have to take it as it comes. And you can love my mix, or you hate it. That's up to you, but don't blame me for trying to make the best out of it. And you can be picky about everything, but hey, don't let that get you in the way for not making a mix yourself.

I've been working 5 weeks on this mix, and I'm getting there, a 'rough' cut has been finished, but still needs a bit of polishing. I expect a first version to be (not finished, because like all my mixes, it's a neverending project) done soon.

I don't know why you seem to be coming off as quite defensive about it, because it's not exactly possible for me to comment on your work if I haven't heard it.

All I'm saying is I admire the dedication to it. Not sure what there is to fault about that.

I don't know why you seem to be coming off as quite defensive about it, because it's not exactly possible for me to comment on your work if I haven't heard it.

All I'm saying is I admire the dedication to it. Not sure what there is to fault about that.

Uhh... I don’t think he was being defensive??

Internet speak...

Uhh... I don’t think he was being defensive??

Internet speak ��*♂️

Right :)

I was speaking in general, and all I was saying is, a perfect complete mix is nearly impossible and all comes down to your own interpretation. And you like that or you don't. Just you guys know before you go into my mix.

Perhaps, is a dumb question...but... Does anyone knows the name of the music in titanic 2012 trailer, before Southampton track, the first one with that sound of sail bells...does that was made for that trailer, or is known from others?

I dont recognize it from any of the james horner music myself

Finally, it's done. Thanks to DaK and Heidl for their support!

congrats :) I‘m about to start with the edit. :) Hadn‘t the time since the 4cd release.

Cool!

Congrats! Any chance we could listen ?

I've already compiled a new version, with a couple of revised tracks, thanks to DaK for pointing that out.

Someone named "RadioKidCharlemagne" posted a bunch of their own custom edits of the film mix on YouTube.

https://www.youtube.com/user/RadioKidCharlemagne/videos

Someone named "RadioKidCharlemagne" posted a bunch of their own custom edits of the film mix on YouTube.

https://www.youtube.com/user/RadioKidCharlemagne/videos

Sounds good so far. Can’t wait to hear the other edits

His edit of 2� Miles Down is not good, I've been spoiled by listening to StRuPiE's edit of that cue so many times. You guys will love it.

Thanks DaK, put some extra tracks in my edition. So yet another revised version :)

The suspense is killin' me ovah here lol

Thanks DaK, put some extra tracks in my edition. So yet another revised version :)

Will you be sharing it mate? Really would love to hear hear the film versions of some of the tracks :)

Hello, Guys !

So glad to be back here and see your pseudos ! Missed the Forum ! I'have been member here since 2011, my username was "OSTTracker", my avatar was a picture of Seth Bullock in "Deadwood", and my favorite thread where I was very active was this one, "TITANIC". Maybe some of you remember me, I don't know. I lost my password and account, so I created a new one with the username of my YouTube Channel.

I can see JHFan found my videos and edits ! ^^
Here is the link to the playlist, with 41 tacks (some sources from I Salonisti, not all of them). Film Version of the score, based upon La La Land edition.
https://www.youtube.com/watch?v=udEsheWAMxU&list=PL4nHCs196ZXexmUryCSlzv4k-MjwTr-Aw

Just a precision : 3 of tracks are based upon previous edit (one from Jointy95, the Finale. I could not identify other creators yet). The 2 other edits are "Rose's suicide attempt" and "1 1/2 Miles Down", then called "The Wreck". So, it's not mine ! And I'm very looking forward to listening to StRuPiE's work ! :)

All the other tracks are my edits : "The Sinking", "A Building Panic", "Trapped on E-Deck", "Southampton", "Leaving Port" (theses ones I whished the most, and I'm quite satisfied with the result !), made with material from La La Land.

So great to have the ALTERNATES used by Cameron to make his edit : "Southampton", "Leaving Port", "Rose" and "A Promise Kept" (LLL - Disc 3) are the main alternates he used. We had the "wrong" tracks on the official CD.

I totally agree with StRuPiE and share his enthousiastic opinion about perfectionism of Cameron, his choices, his way te re-create this score, etc. I'm impressed, and work on the edits helps to realize this incredible work of a director.

And I totaly suscribe to the words of JHFan who explains the two approaches of a Film Edit. That's totally true. "TITANIC" score does not exist, officially. It's a pure invention, an exclusive mix up for a film, which used all material we have now with La La Land. So, we can never make exactly the same edit, but we can do our best to make it sound close, very close... and less "akward". At some extent, when it's too bizarre, I agree it's quite "absurd" to make it similar. We can take some liberty and, in fact, create our own edits !

I tried to make the best film versions I could. These are my first edits, I never do that usually, I'm not a specialist. Just had my passion, ma patience and my own perfectionism to do it, durant 3 weeks. I'm really curious and eager to hear other propositions ! ^^

Boys, I think he's done it. All the revised tracks sound better. This is most impressive.

2� Miles Down is still my favorite, and then the alternate (AKA film version) of A Promise Kept with Rose singing "Come Josephine In My Flying Machine" as she's floating on the door. Love it.

I still dont think the film mix is always superior
but thats mostly because I hate that some music went unused and others have clunky repeats of earlier or later stuff

Oh and LOL, some videos are blocked in my country

Don't want to be annoying, but is that StRuPiE titanic ultimate edition, going to be share here in the forum? Because on his blog there is no link for download...really want to listening this awesome film edit ;)

Hey guys, I've pullled the dl link, and wanted to let you know that I've done some serious changes today (6 tracks are completely reworked already). Thanks to some incredible feedback from our community I'm able to fix things that were easy to miss. So to all of you that are sending feedback, you are awesome! Much appreciated. Keep it coming.

I'll be compiling a new release this weekend (hopefully when most things are fixed).

No, it won't be shared publicly, nor on my blog (that site is pure for information purposes).

It can't be shared publicly anyway, not until everyone figures out the whole Fox/Disney deal.

As you guys know, I did some serious changes this week, for this reason I created v3 of my Ultimate Edition.

The tracks that have changed for those that already have v2:
11 - The Docks (completely reworked, thx to JHfan)
15 - To the Sea - King of the World (second half completely changed, added effects to be more accurate to source, thx Ontario)
66 - Rose Survives (completely reworked, thx to Ontario for his excellent tips, most accurate version including synth voices/chimes/eerie sound/Stearns(Beacon))
67 - Rose Survives (source, short) same as above but with better isolation of voices/SFX
68 - Rose Survives (source, long) same as above but with better isolation of voices/SFX
71 - Rose Survives - A Life Changed (ext with source) same as above but with better isolation of voices/SFX
73 - The Heart of the Ocean - The Dream (added overlay from distant memories, thx Ontario)
Fixed smaller things here and there.
Other tracks were unchanged.

I can honestly say this is a very accurate version of the film mix. I don't think I have heard a complete mix as close to the original cut, as this before. Sure, people are working on their own versions, and what you do yourself will always appeal to you the most. But for the time being, enjoy my release!

You know where to find me :)

Thanks JHfan, Ontario and Dak for your amazing feedback during this journey of re-creating one of the best film scores.

UPDATE: Ok, so I've noticed the chimes in 'Rose Survives' sounds a bit off (2:10-2:50). I'll try to fix that today. It's a mult-layered track with many things going on, matching the chimes perfectly is just very difficult. It's nearly as complex as '2 1/2 Miles down'.

Ummmm...ok. Caught up. Interesting. I think. Mostly.

Ummmm...ok. Caught up. Interesting. I think. Mostly.

Yes, it’s that soundtrack you repeatedly told us would never ever ever ever be released.

Yes, it’s that soundtrack you repeatedly told us would never ever ever ever be released.

To be fair, LLL themselves didn't think so either. They said it was mainly thanks to their Braveheart expansion. That paved the way.

To be fair, LLL themselves didn't think so either. They said it was mainly thanks to their Braveheart expansion. That paved the way.

Things tend to change in the future. Just because the 2012 release turned out to be awful and coincided with the 100th anniversary of the ship and 15th anniversary of the film didn’t automatically mean that there was no chance for an expanded release on the 20th Anniversary. I said as much in 2012 and had Amanda’s never never posts in response.

It always pays to stay positive.

Hell... I didn’t think it would ever see the light of day either lol

LLL also said for those who were complaining that "My Heart Will Go On" was not included, that if they waited for the rights to clear the expansion would have probably come out for the 25th anniversary instead.

In cases like thid it's always nice to be proven wrong. I have had no connection to music vommunities in more than a uear. More like two. Lost all of it. I had no idea Titanic jad even been released until yesterday. It's cool but I am somehow more excited about the new Robin Hood Prince of Thieves set? It's like Titamic is somehow anriclimatic for me. After all the hoping and drama, here it is. And its like...nice. It is. I just...never got the happy dance feeling. Dunno. It's wierd.

---------- Post added at 12:42 PM ---------- Previous post was at 12:27 PM ----------

In cases like this it's always nice to be proven wrong. I have had no connection to music vommunities in more than a uear. More like two. Lost all of it. I had no idea Titanic jad even been released until yesterday. It's cool but I am somehow more excited about the new Robin Hood Prince of Thieves set? It's like Titamic is somehow anriclimatic for me. After all the hoping and drama, here it is. And its like...nice. It is. I just...never got the happy dance feeling. Dunno. It's wierd.

---------- Post added at 12:45 PM ---------- Previous post was at 12:42 PM ----------

Sorry. Trying to post on my lil phone. Not used to it. Anyhoo.

As you guys know, I did some serious changes this week, for this reason I created v3 of my Ultimate Edition.

The tracks that have changed for those that already have v2:
11 - The Docks (completely reworked, thx to JHfan)
15 - To the Sea - King of the World (second half completely changed, added effects to be more accurate to source, thx Ontario)
66 - Rose Survives (completely reworked, thx to Ontario for his excellent tips, most accurate version including synth voices/chimes/eerie sound/Stearns(Beacon))
67 - Rose Survives (source, short) same as above but with better isolation of voices/SFX
68 - Rose Survives (source, long) same as above but with better isolation of voices/SFX
71 - Rose Survives - A Life Changed (ext with source) same as above but with better isolation of voices/SFX
73 - The Heart of the Ocean - The Dream (added overlay from distant memories, thx Ontario)
Fixed smaller things here and there.
Other tracks were unchanged.

I can honestly say this is a very accurate version of the film mix. I don't think I have heard a complete mix as close to the original cut, as this before. Sure, people are working on their own versions, and what you do yourself will always appeal to you the most. But for the time being, enjoy my release!

You know where to find me :)

Thanks JHfan, Ontario and Dak for your amazing feedback during this journey of re-creating one of the best film scores.

UPDATE: Ok, so I've noticed the chimes in 'Rose Survives' sounds a bit off (2:10-2:50). I'll try to fix that today. It's a mult-layered track with many things going on, matching the chimes perfectly is just very difficult. It's nearly as complex as '2 1/2 Miles down'.

Ohhh awesome! :D

I fixed the damn track, took me like... the whole weekend.

Too long tho

Thanks for all the hard work you have put into this film mix, StRuPiE! All the latest updates are great, and the extra effects in the latest version of "Rose Survives" really add to the cue.

Cameron definitely added a lot more more ghostly/synth effects to the film versions of "A Promise Kept" and "A Promise Kept (Alternate)". The difference between the originals and StRuPiE's film mix really stands out. I haven't been able to identify them from anywhere in the score, so I wonder if they were originally temp tracks from a generic "ghostly effects" library, or if they were something additional that Horner recorded. The ghostly drone that peaks in volume when the film cuts to a shot of the stars definitely does a good job setting a "spooky" tone for the scene.

Is it possible to download strupie’s version??

In a ''Promise Kept'' there's a choir in the track, I'm using audacity (not a great tool, to remove SFX) but still is very hard to remove, so where i can find it

In a ''Promise Kept'' there's a choir in the track, I'm using audacity (not a great tool, to remove SFX) but still is very hard to remove, so where i can find it

Never noticed this before. It's in the album version of the cue but not the film version?

Never noticed this before. It's in the album version of the cue but not the film version?


The film version has these choirs , not the album.

In my edition:
66 - Rose Survives (completely reworked, thx to Ontario for his excellent tips, most accurate version including synth voices/chimes/eerie sound/Stearns(Beacon)) = A promise kept film version.

That choir you're mentioning is just basic synth voices layered on top.

In my edition:
66 - Rose Survives (completely reworked, thx to Ontario for his excellent tips, most accurate version including synth voices/chimes/eerie sound/Stearns(Beacon)) = A promise kept film version.

That choir you're mentioning is just basic synth voices layered on top.


So is there any v4 in your ultimate edition?

But that voices is from the album or other editions, like recreated scores and such?

No, it's just what it is (v3). But we discussed it already, and you're right. So I'll be trying to match and mix the first part a bit more accurate than my current cue.

Still fixing things along the way ... :)

oh Strupie, a really big thank you for your effort on the film mix for Titanic :) It‘s already a great listening experience. :) This whole situation remembers me to the Die Hard With A Vengeance Film Mix which was almost the same sh*t ;) I think I‘ve spent at least half a year trying to recreate the film mix :)

I got to say that's a mighty big effort and I salute you StRuPiE for this amazing Film Mix. It takes me back to the Winter of 97 in which I've went to a local BP gas station and bought the cassette and listened to it from day in and day out, not knowing that I could have gotten the CD in Walmart for $15.99 at the time. This soundtrack along with "Star Wars" in 1997 (Special Editions were out), "Tomorrow Never Dies" and "GoldenEye" introduced me to the world of film scores.

Call me crazy, but I love all the mixes: Cameron's Film Mix, Horner's original intent from the LLLR and the soundtrack (and yes, I love the Celine song. I don't get the hate at all. Overplayed on radio, yes, but not to the point you wanna carry pitchforks and torches or act as angry as early man reacting to the monolith). I can hear why the academy voters instantly voted for this to win best score (even with the Film Mix) instead of Goldsmith's "L.A. Confidential" or any of the scores that were nominated that year. It's just that great of a film score that really stood a test against time and brought back the era of romance that hasn't been seen since "Gone With The Wind" in 1939. It's a score fans (myself included), has been wanting for years to be released in it's entirety and come 2017, our wish was granted, thanks to the sales of LLLR's "Braveheart".

Thanks guys! :)

Once you've heard the film mix on it's own, it's VERY difficult to watch the movie without noticing all the small details that went into the final cut. And for me it's even more distracting, now that I know this score inside-out.

Today, I "almost " finished :( ;) Southampton (film version), and the alternate version of the cue, which James Horner composed, is pretty much smaller than the other, from the original soundtrack, ...but still,....Cameron decided to made is own cuts, edits and micro edits.... That guy is just unbelievable ;) :) 😜😉🙃☺️😊😆

I have spent a lot of my free time over the past few weeks perfecting film versions of two cues - "Unable To Stay, Unwilling To Leave" and the finale cue (the film version of "An Ocean of Memories"). These were the two most challenging edits I have ever completed, but I am very proud of how they turned out. I was able to create them using the 5.1 channel version of the OST and a few brief SFX-free portions of the movie. As a result, there are no pipes, and no SFX (including the clapping at the end of the movie - if it hadn't been there this process would have been much easier) :)

An Ocean of Memories Film Version (Stereo)

I was able to reverse-engineer the transition sequence where the scene morphs from the wreck hallway to the lively 1912 hallway using the relevant sections of "Rose" and "Unable To Stay, Unwilling To Leave". I then merge back into the audio from the movie after all SFX are gone. The most difficult part of recreating this portion was finding a way to include the extra sustained strings that start during the underwater sequence and end after the transition is complete. However, I was able to pull these from the front channels of Rose (underneath Sissel's voice) and loop them to make them long enough to overlay the full transition. Getting the timing and volume of this 10-second section just right took many hours of effort, but I think it turned out very well, and I think it's a perfect match to the movie version.

Unable To Stay, Unwilling To Leave Film Version (5.1 Channel, Stereo)

The pipes were isolated to only the front channels of the 5.1 mix on the OST and in the movie. By luck, the portion of the end of the movie where the clapping starts is SFX free in the front channels during the scene where Rose jumps from the lifeboat. By combining these two sections of the front channels together I was able to remove the pipes without SFX. The hardest part of this edit was removing the pipes from the long final "tense" note as the track transitions into the action music at the end. There was no SFX-free portion of this in the movie, so I had to recreate the front channel using some careful looping. After re-adding all the other channels, the result is a SFX-free 5.1 channel version of the track without pipes. :)

After how much work I put into these edits, I would be happy to share and I hope others enjoy them. If you are interested, please send a PM.

What you and StRuPiE have both managed to pull off is nothing short of impressive. I wish I had those capabilities. I like that An Ocean of Memories kinda has the SFX (if you wanna call it that, maybe it's actually part of the cue?) of the transition going from the wrecked promenade to 1912. It's a nice touch.

Sounds very hard to pull off Ontario. I can feel your pain in the process of creating these tracks. Can you share them with me, very interested in hearing your versions.

That's a lot of work...congrats...

--------------------------

thanks peter, did you get that out of the vault yourself?

-----------------------------

https://drive.google.com/file/d/1qHRsZhP7wnRyV_lXymTJw6mVHZ2zO117/view

This is great!!! Somethings are difficult to understand like...." bkg", "inst bkg", voc hum

But this helps a lot, thanks for sharing...

It even states all the I Salonisti pieces as being arranged by either John Altman, Gy�rgy Mondvay or William Ross. Very detailed. All it's missing is the slates.

--------------------------------

It even states all the I Salonisti pieces as being arranged by either John Altman, Gy�rgy Mondvay or William Ross. Very detailed. All it's missing is the slates.

Well it�s got the reels and the cue numbers. Close enough for now lol. May have also read somewhere that slates weren�t used during recording as the music was being recorded during filming (could be wrong!)

This is great!!! Somethings are difficult to understand like...." bkg", "inst bkg", voc hum

But this helps a lot, thanks for sharing...

it means background and instrumental

Well the cuesheet was very helpful in decoding what Cameron used during the film edit of "An Ocean of Memories" / the finale cue. I have updated my edit to include the section of "Relics & Treasures" that builds up when the ship comes back to life. I think this is about as close as I am going to get to the film version and I'm happy with how it turned out. The only thing missing now is the "whoosing" sound effect, but I had a hard time including it without pulling in SFX as well so I will leave it off for now.

Thanks to StRuPiE for pointing out that the film version of Unable to Stay, Unwilling to Leave includes more noticeable percussion during the sequence where Cal grabs the gun from Lovejoy in slow motion. I was able to add that into my edit as well.

I will send out updated links to those that are interested! :)

Well the cuesheet was very helpful in decoding what Cameron used during the film edit of "An Ocean of Memories" / the finale cue. I have updated my edit to include the section of "Relics & Treasures" that builds up when the ship comes back to life. I think this is about as close as I am going to get to the film version and I'm happy with how it turned out. The only thing missing now is the "whoosing" sound effect, but I had a hard time including it without pulling in SFX as well so I will leave it off for now.

Thanks to StRuPiE for pointing out that the film version of Unable to Stay, Unwilling to Leave includes more noticeable percussion during the sequence where Cal grabs the gun from Lovejoy in slow motion. I was able to add that into my edit as well.

I will send out updated links to those that are interested! :)

Interesting! :)

I shared that cuesheet on the FSM Titanic thread on the FSM board and my link for it appears here....that's honestly not surprising.

Dak and I have had extensive discussions about the score, the cuesheet was something I sent him a long time ago, and he was fully aware of the lack of slates - Titanic never had slates just those reel numbers shown...guess he forgot. Memory is a fickle thing.

Well it’s got the reels and the cue numbers. Close enough for now lol. May have also read somewhere that slates weren’t used during recording as the music was being recorded during filming (could be wrong!)

The film itself is only 10 reels long though. I just read that the other day.

Trying my luck here after my request thread failed.

There is an I Salonisti bootleg out there with reportedly unused songs. It is on YouTube, but it sounds horrible. I know that it leaked in 128kbps. Does anyone have this (not the YouTube clips?)

Ohhh awesome! :D

Do you have a link for this edition? I really wishing listen this 😮 !!!

---------- Post added at 03:44 PM ---------- Previous post was at 03:42 PM ----------


As you guys know, I did some serious changes this week, for this reason I created v3 of my Ultimate Edition.

The tracks that have changed for those that already have v2:
11 - The Docks (completely reworked, thx to JHfan)
15 - To the Sea - King of the World (second half completely changed, added effects to be more accurate to source, thx Ontario)
66 - Rose Survives (completely reworked, thx to Ontario for his excellent tips, most accurate version including synth voices/chimes/eerie sound/Stearns(Beacon))
67 - Rose Survives (source, short) same as above but with better isolation of voices/SFX
68 - Rose Survives (source, long) same as above but with better isolation of voices/SFX
71 - Rose Survives - A Life Changed (ext with source) same as above but with better isolation of voices/SFX
73 - The Heart of the Ocean - The Dream (added overlay from distant memories, thx Ontario)
Fixed smaller things here and there.
Other tracks were unchanged.

I can honestly say this is a very accurate version of the film mix. I don't think I have heard a complete mix as close to the original cut, as this before. Sure, people are working on their own versions, and what you do yourself will always appeal to you the most. But for the time being, enjoy my release!

You know where to find me :)

Thanks JHfan, Ontario and Dak for your amazing feedback during this journey of re-creating one of the best film scores.

UPDATE: Ok, so I've noticed the chimes in 'Rose Survives' sounds a bit off (2:10-2:50). I'll try to fix that today. It's a mult-layered track with many things going on, matching the chimes perfectly is just very difficult. It's nearly as complex as '2 1/2 Miles down'.

Do you have a link for this amazing work 😮 ?!?!? Please if this exist send me a PM. I wishing listen your edition !

ontario; I wanted to say thanks for your edited cues; I got your links right after I requested them and also appreciated the pm links of your updated ones. Great stuff, thanks again for sharing.

Thanks plank3, glad you enjoyed the edits. :)

I am planning to work on an edit of 2 1/2 Miles Down next. One of the hard parts in recreating the film version is that the "Wild Piano" cue is unreleased. Yesterday I used a virtual piano tool and recreated it from scratch (Maybe I have too much time on my hands, haha). I was able to overlay keys of slightly different pitches to make it sound out of tune like it does in the movie, and added an echo effect. Only thing missing is the light synth backing, but for now I think this is pretty close.

Below is a link to my recreated "Wild Piano". Might be useful for anyone working on a 2 1/2 Miles Down film edit! :)

https://mega.nz/#!WFUiAKzY!rYKPjGYFTWOI6HqCzw8eEaRCyZKrL0XrE8ROU8afDOs

"Wild Piano" just great...

Still working on two and half miles down, when 2 1/2 miles down alternate track begins, does it begins the same way in the album, or as a few alterations, I can't figure out, due SFX. ...... XD

Hello everyone , I'd like to thank StRuPiE for his wonderful version of Titanic, it's incredible **O** (I'm not so sure the current vetion, is the post on the dowload section)

I also thank ontario528 for it's wonderful work on track I love**O**

Just out of curiosity, about how much of James Horner's score for Titanic (in a percentage) do you guys and gals think was unaltered by James Cameron in the film's final cut? I'd say about 5-10%.

I say 2%

I know that Hard to Starboard is for the most part as it is on the OST and the extended film version is on the LLL version. I think maybe there's one or two others. Hate him for what he does and how he chops up the score, but t all works out in the end. I love the way the score is in the film.

Despite what some here have said, it's pretty obvious given his well-known personality and ego, that Jim Cameron had so much involvement in the score not because he had this clear vision and was a genius, but because he needed to get his hands into every aspect of the production to have that sense of control. I don't say that to take away from what Cameron's vision was about, that speaks for itself. I'm just saying that this goes beyond just having a vision and goes into an obsessive need for control.

Case in point:

This is from an interview (linked below) with Matrix composer Don Davis, who was Horner's orchestrator on Titanic.



PLUME: To get back to the list, tell me more about working with James Horner


DAVIS: He's earned his position in the film scoring community, and there's no question for me that he's one of the most knowledgeable and capable composers who ever scored films. It was always great when I was working for Horner, because he'd go over a sketch and say, "This string passage here, you could probably treat it like Tchaikovsky did in his 4th Symphony, but maybe we should go with more of a Shostakovitch approach." If I said, "But what about the way Holst handled the strings in the second movement of The Planets?" And he'd say, "Well, that's a little bit too direct for this." You can talk to him about music, and he's heard it and he knows what it's about. The same with Randy, we had discussions like that.


PLUME: So it's nice to have that depth of understanding.

DAVIS: It's amazing to have that depth.

PLUME: Do you find that it's hard to find?

DAVIS: It's getting rare.

PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it?

DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got.

PLUME: I think that's a perspective that not very many people saw in that

DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent.

PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens

DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that well, maybe he would but there gets to be a point when it's too much.

PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle?

DAVIS: There are situations where directors give composers directives just to give them directives Just to show "who's boss in this room."

PLUME: Is it the film version of busy work?

DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.

http://ca.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4

I say 2%

I know that Hard to Starboard is for the most part as it is on the OST and the extended film version is on the LLL version. I think maybe there's one or two others. Hate him for what he does and how he chops up the score, but t all works out in the end. I love the way the score is in the film.


There are a few things on the film edit that are cringe-worthy to listen to... the two cymbal(?) strikes at the beginning of The Sinking that overlap each other from two different cues is one example. However, "The Heart of the Ocean" (or the film version of "An Ocean of Memories", as others have called it here,) is well-executed in every sense of musical editing and manner, and I wish it was on the La La Land release. Thankfully, I do however have a mp3 rip of one of jointy95's YouTube edits of the cue, and it works very nicely at the end of my "Film" playlist before My Heart Will Go On and the original end credits cue.

There are a few things on the film edit that are cringe-worthy to listen to... the two cymbal(?) strikes at the beginning of The Sinking that overlap each other from two different cues is one example. However, "The Heart of the Ocean" (or the film version of "An Ocean of Memories", as others have called it here,) is well-executed in every sense of musical editing and manner, and I wish it was on the La La Land release. Thankfully, I do however have a mp3 rip of one of jointy95's YouTube edits of the cue, and it works very nicely at the end of my "Film" playlist before My Heart Will Go On and the original end credits cue.

That is a good question regarding which tracks were left unaltered. I'm honestly having a hard time thinking of any other than a few of the shorter tracks like "Butterfly Comb" or "The Promenade". Tracks like "Rose" and "Unable to Stay, Unwilling to Leave" were not "edited", but even in those cases Cameron couldn't help himself and played around with the mixing to remove or amplify certain instruments (although in both cases the changes in mixing were improvements in my opinion). Most of Hard to Starboard was included, although he did do some cutting in the movie and possibly dialed out some instruments at one point while Murdoch is urging the ship to turn.

Agreed, the film version of "An Ocean of Memories" is a beautiful edit. I have no idea how Cameron figured out how to perfectly combine 4 different tracks in a 10 - 15 second span so effectively when the wreck comes back to life at the end. It took me a long time to edit all those tracks together to match what he did, and that's using the film as a template. It was a pretty creative vision that he had there for sure.

Agreed, the film version of "An Ocean of Memories" is a beautiful edit. I have no idea how Cameron figured out how to perfectly combine 4 different tracks in a 10 - 15 second span so effectively when the wreck comes back to life at the end. It took me a long time to edit all those tracks together to match what he did, and that's using the film as a template. It was a pretty creative vision that he had there for sure.

There was an old interview with Horner's music editor Joe E. Rand who stated that it was his task to conform the score to the edits Cameron gave him. Essentially it was Rand's task to try to make the edits as cohesive as he could, but of course could only do so much with it which is why some of the edits (like the film edit of "An Ocean of Memories" sound so well-done, and others sound impossible to have made natural.

Unfortunately with a lot of links to interviews from 20 years ago or so, it's probably long gone.

There was an old interview with Horner's music editor Joe E. Rand who stated that it was his task to conform the score to the edits Cameron gave him. Essentially it was Rand's task to try to make the edits as cohesive as he could, but of course could only do so much with it which is why some of the edits (like the film edit of "An Ocean of Memories" sound so well-done, and others sound impossible to have made natural.

Unfortunately with a lot of links to interviews from 20 years ago or so, it's probably long gone.

Interesting... surprised excerpts of that interview weren't in the La La Land booklet.

That's interesting, I was assuming there had to be somebody in charge of actually making the edits rather than Cameron actually sitting at the computer doing it himself. I'm sure he has a lot of skills but he can only do so much, haha. It must have been a frustrating experience for Joe E. Rand to make many of the edits seamless, since a lot of them are so jarring that there is just no way that it can be done. But in some cases like "An Ocean of Memories", it can be satisfying when an edit flows perfectly, which is the goal of a music editor.

Using "An Ocean of Memories" as an example, it would have been interesting to see how that edit came together. I would assume it started with Cameron deciding to completely scrap the original track Horner wrote (maybe because the finale of the film was being completely reworked), and thinking that using "Rose" would be a nice callback to earlier in the movie. Then Cameron probably thought it would be nice to end with "Unable to Stay, Unwilling to Leave" since it drove the emotion of the final scene with the passengers and crew clapping. Then Joe E. Rand was probably told to combine the two tracks and see if there was some way to make them fit together. I would guess after hearing the two faded together they decided to add in the strings from "Relics and Treasures" to add a feeling of anticipation as you realize that the wreck is about to come back to life, and sprinkled in "An Ocean of Memories" to add a "magical" sound when the bright 1912 hallway appears. Then at the end of the cue they completely dialed out all the instruments to fade out of "Unable to Stay, Unwilling to Leave" just before the action portion begins, but it probably felt like something was still needed to cap off the movie. So they either found or recorded the brief Tony Hinnigan flute solo that ends the film.

That's my best guess as to what happened, but maybe I am way off. Too bad they don't film these kinds of decisions behind the scenes for us to see later. :)

That's interesting, I was assuming there had to be somebody in charge of actually making the edits rather than Cameron actually sitting at the computer doing it himself. I'm sure he has a lot of skills but he can only do so much, haha. It must have been a frustrating experience for Joe E. Rand to make many of the edits seamless, since a lot of them are so jarring that there is just no way that it can be done. But in some cases like "An Ocean of Memories", it can be satisfying when an edit flows perfectly, which is the goal of a music editor.

Using "An Ocean of Memories" as an example, it would have been interesting to see how that edit came together. I would assume it started with Cameron deciding to completely scrap the original track Horner wrote (maybe because the finale of the film was being completely reworked), and thinking that using "Rose" would be a nice callback to earlier in the movie. Then Cameron probably thought it would be nice to end with "Unable to Stay, Unwilling to Leave" since it drove the emotion of the final scene with the passengers and crew clapping. Then Joe E. Rand was probably told to combine the two tracks and see if there was some way to make them fit together. I would guess after hearing the two faded together they decided to add in the strings from "Relics and Treasures" to add a feeling of anticipation as you realize that the wreck is about to come back to life, and sprinkled in "An Ocean of Memories" to add a "magical" sound when the bright 1912 hallway appears. Then at the end of the cue they completely dialed out all the instruments to fade out of "Unable to Stay, Unwilling to Leave" just before the action portion begins, but it probably felt like something was still needed to cap off the movie. So they either found or recorded the brief Tony Hinnigan flute solo that ends the film.

That's my best guess as to what happened, but maybe I am way off. Too bad they don't film these kinds of decisions behind the scenes for us to see later. :)

I'm curious how much input Horner had on how the score was edited in the film. He must've consulted with Cameron on how the music could be edited to fit the picture and rejected some of Cameron's edit ideas that could compromise the music's integrity, right?

I'm not sure about Horner's input, because when it came to Avatar, he said in an interview that he was happy to step aside and let Cameron do what he wanted with the music. Maybe it was the same for Titanic. He had to know he what he was involved with and who he had to work for and why fight it - that's what happened with Aliens and their disputes about where and when to have music playing.

Ohh dear, the new composer for the Avatar sequels has no idea what he will be involved in, unless Cameron goes back to Fiedel. :)

Ohh dear, the new composer for the Avatar sequels has no idea what he will be involved in, unless Cameron goes back to Fiedel. :)

I feel so bad for that guy lol

Btw how�s v5 going so far. Let us know if you need feedback!

Btw how’s v5 going so far. Let us know if you need feedback!

Should be finished over the weekend.

They should just be tracked from Avatar, Braveheart, Willow and Titanic. They all sound similar enough and Cameron is genius enough to combine them in such a way they'd sound like brand new Horner material.

They should just be tracked from Avatar, Braveheart, Willow and Titanic. They all sound similar enough and Cameron is genius enough to combine them in such a way they'd sound like brand new Horner material.

You sick, clever man.... though I'd rather have Simon Franglen, John Powell, James Newton Howard, Alexandre Desplat, or Andrew Lockington compose the music for the sequels.

After a few long weeks I have finally finished my 2 1/2 Miles Down film edit. As others have mentioned, it is an exhausting experience with many cases where multiple cues are layered on top of each other, slowed down, etc. And of course some material has not been released on the LaLaLand release which added to the challenge. Luckily I was able to pull Violin Tool Kit from the Behind the Scenes video, copy it from a single mono channel into two stereo channels, and then offset them to make it sound like true stereo. I also had to create my own Wild Piano since that track has not been released, and swapped the echoing notes between the left and right channels (thanks to StRuPiE for pointing this out!) And in one short portion FFDream10's recreated score came in handy as well. :)

I made a few different versions. In the film the track is divided into 3 separate parts. In addition to those, I created two different combined versions for a single seamless listening experience. One simply combines all the parts together as they are heard in the film. The other "extended" version includes the first couple minutes of the original 2 1/2 Miles Down from the LLL release, since I personally enjoy the way the track starts even though a lot of it was cut out in the film. The result is an almost 7-minute long track completely unlike the original cue on the LaLaLand release, but full of all the memorable elements that are featured in the movie. The film version cuts out abruptly at the end of the cue into "To the Keldysh". I put my own spin on this and used some of the synth from "A Promise Kept (Alternate)" to create a natural clean ending. I also slowed down the tempo of the low pulse so that it matches the tempo of "A Promise Kept (Alternate)" to sound more in sync. So technically there are some slight deviations from the film version, but I think they make for a good listening experience.

After spending far too much time on this project, I must say the film edit of 2 1/2 Miles Down is a completely different track than what Horner originally intended, but it is an example of a film edit that works very well. My favorite parts are:

- How the opening portion with Sissel's vocals transitions into the short section from "An Ocean of Memories"
- How the ominous section from "A Promise Kept" overlays on top of the ghostly Violin Tool Kit
- The ghostly "Nearer My God to Thee"
- The section that begins Part 3 where Cameron layered "An Ocean of Memories" on top of the ghostly chimes from 2 1/2 Miles Down and actually changed the tempo so that they are in sync (one of my favorite edits in the film, this one is very creative)
- The faint bursts from "Post" / the end of "Hymn to the Sea" that overlay the ghostly chimes, along with the whoosh effect
- Sissel's vocals singing the main theme along with the strings from Hymn to the Sea as the boots / doll face appear
- Violin Tool Kit followed by the out-of-key Wild Piano
- "A Promise Kept Alternate" with Low Pulse layered underneath it

I would be happy to share my edits with those who are interested. If so, please send a PM! :)

In the track A Building Panic (Film Version), there are some instuments that they weren't include in the film, when Jack says ''Can Anyone Hear Me'', it says a bulding panic (film version) buts its not very film version, lol, ahahaha XD, there's a recreated version on youtube that is very similiar, so....I don't understand a thing of music sheets/notes, XD , if someone want to do that, like they do the '' Wild Piano'' and others cues, it would be AWESOME, ATTENTION , I'm not order, just asking!!

It's hard to recreate that?

I had the time to listen the original version of the Horner musics, for every scenes! not edited or mixed! and I'm so sorry to tell you, that I think James Cameron didn't understand nothing about music! the first versions of rose suicide attempt or the leaving port alternate, are perfect with every single frame and works perfectly with the motion picture, even when the engines starts horner made an onomatopeic music that work perfectly with that scene! and many other scenes are better with the first Horner version! let's talk about the grand finale! an ocean of memories that is better than the film mix with 4 tracks fusion... I think that James Horner made a perfect work for titanic scenes! but Cameron still not have respect for other people especially if they are artist, he wanted to make changes again and again because his ego... Horner knew that.. in fact he made the first portrait theme version as Demo that shouldn't been inserted in the movie, and he made a more accurate version of the portrait for the movie (album version) but Cameron says that the demo was good... James Horner was a great artist and he was very patient.. but if for titanic score were asked to John Williams... I don't think that Cameron could have this freedom to change the work of the composer too many times.

I had the time to listen the original version of the Horner musics, for every scenes! not edited or mixed! and I'm so sorry to tell you, that I think James Cameron didn't understand nothing about music! the first versions of rose suicide attempt or the leaving port alternate, are perfect with every single frame and works perfectly with the motion picture, even when the engines starts horner made an onomatopeic music that work perfectly with that scene! and many other scenes are better with the first Horner version! let's talk about the grand finale! an ocean of memories that is better than the film mix with 4 tracks fusion... I think that James Horner made a perfect work for titanic scenes! but Cameron still not have respect for other people especially if they are artist, he wanted to make changes again and again because his ego... Horner knew that.. in fact he made the first portrait theme version as Demo that shouldn't been inserted in the movie, and he made a more accurate version of the portrait for the movie (album version) but Cameron says that the demo was good... James Horner was a great artist and he was very patient.. but if for titanic score were asked to John Williams... I don't think that Cameron could have this freedom to change the work of the composer too many times.

I personally think that both versions of "An Ocean of Memories" work well...

---------- Post added at 04:52 PM ---------- Previous post was at 04:49 PM ----------


I had the time to listen the original version of the Horner musics, for every scenes! not edited or mixed! and I'm so sorry to tell you, that I think James Cameron didn't understand nothing about music! the first versions of rose suicide attempt or the leaving port alternate, are perfect with every single frame and works perfectly with the motion picture, even when the engines starts horner made an onomatopeic music that work perfectly with that scene! and many other scenes are better with the first Horner version! let's talk about the grand finale! an ocean of memories that is better than the film mix with 4 tracks fusion... I think that James Horner made a perfect work for titanic scenes! but Cameron still not have respect for other people especially if they are artist, he wanted to make changes again and again because his ego... Horner knew that.. in fact he made the first portrait theme version as Demo that shouldn't been inserted in the movie, and he made a more accurate version of the portrait for the movie (album version) but Cameron says that the demo was good... James Horner was a great artist and he was very patient.. but if for titanic score were asked to John Williams... I don't think that Cameron could have this freedom to change the work of the composer too many times.

However, I do find that Horner's intended versions of the sinking sequence (especially Trapped on D Deck and the alternate version of Death of Titanic without the synth choir) work better than the film versions.

I had the time to listen the original version of the Horner musics, for every scenes! not edited or mixed! and I'm so sorry to tell you, that I think James Cameron didn't understand nothing about music! the first versions of rose suicide attempt or the leaving port alternate, are perfect with every single frame and works perfectly with the motion picture, even when the engines starts horner made an onomatopeic music that work perfectly with that scene! and many other scenes are better with the first Horner version! let's talk about the grand finale! an ocean of memories that is better than the film mix with 4 tracks fusion... I think that James Horner made a perfect work for titanic scenes! but Cameron still not have respect for other people especially if they are artist, he wanted to make changes again and again because his ego... Horner knew that.. in fact he made the first portrait theme version as Demo that shouldn't been inserted in the movie, and he made a more accurate version of the portrait for the movie (album version) but Cameron says that the demo was good... James Horner was a great artist and he was very patient.. but if for titanic score were asked to John Williams... I don't think that Cameron could have this freedom to change the work of the composer too many times.

While I understand some of your frustration, I have a slight different opinion on his work methods.

I think Cameron is a genius, to come up with such a massive, chopped up version of the score, is brilliant. I spent 3 months reverse-engineering this thing...just assembling the pieces in front of me. Let me assure you, it's been tough and that's even without the creative process behind it. I've done film mixes from Zimmer, they are a walk in the park compared to this, it's been by far the most difficult mix yet. I can see the logic of the decisions he (they) made. It does make me wonder how much of the creative process was Cameron and how much was his music editors. I can imagine he must have pushed them far beyond their limits to achieve the final result. Yes, some of the edits are just plain awful and the many microedits/loops/tracking make you cringe. BUT it works in the film and it works wonderfully well. And that doesn't mean he doesn't know anything about music, I actually like what they did with the film mix, but that's my personal taste. Of course, some of the original tracks do sound better, from a listening pov. But the mixed versions also make sense once watched with the movie. I don't think Horner was tampered in his creativity by Cameron's approach, I think he knew exactly what was coming. In fact, I think Horner finally settled with him and accepted his way (or no way).

One could call it genius, another could call it micro-management.

Doesn't make either side of the debate wrong.

Also, this all seems to serve to discredit what the composer actually wrote as not being enough because Cameron did so much revisionist work on it, but that's the thing - without the score there was nothing to revise, and temp music could've been just as useful, and what Horner actually wrote did work. Avatar is an even better example of Cameron not being genius, but being hell-bent on micromanaging every facet of the film-making process he could - that time actors included since he could literally edit actor's performances and choices to his whim. It's like Titanic's orchestrator Don Davis said: Cameron was making changes, just to make changes. Just to have control.

It's one thing to be accustomed to how the score sounds in the final film that it's just accepted, but that didn't mean what was intended didn't work, and in many cases, worked better. Chopping a cue up and stitching it with four different pieces could just as easily be labeled obsessive as well as genius...obsessive genius even...or could be labeled as incredibly indecisive and fidgety.

But many of us listeners haven't spent three months reverse-engineering a film score's post edit mix. There's a lot of bias and justification involved in taking that time. You're biased because you spent that time, and see it as deconstructing the work of a "genius", and that's fine, but it's also very clearly a justification of your actions. I'm biased because the composer himself was just as big a genius - truly gifted at giving a film what it needed musically. Neither one of us is wrong, we just have our preferences. The other side of my bias is just when it comes to music, Jim Cameron should stick to directing, otherwise he should compose like Clint Eastwood does and not hire a composer if he thinks he knows better and then doesn't have to relinquish control to someone else, just to deliberately mess with their contribution to regain a sense of ownership over the entire process. A long-winded bias, but a bias.

Also, I have it on preciously good authority that Titanic was something Horner just had to step back and accept, but Avatar...well let's just say he could've killed Jim Cameron for doing the same thing a third time with severe post-editing but like Titanic prior, he stepped back and simply accepted it. The "happy to step back" was more or less an acceptance that you can't please everyone so might as well shut up and move on. That's the sort of situation it was with Horner working with Cameron. Get to do all kinds of fun research and experimentation, and make a ton of money in the process, even if the end result isn't what you wanted but you're serving someone else's movie.

In that Titanic cue list that has been around the Internet, do not appear the voices/choir in "A PROMISE KEPT" track....... is where it says A PROMISE KEPT REVISED, where can I get that ? And that DRONE AND CHORD ?? I read some guys saying that is the begining of trapped on D deck, but also appears in the end credits ....so it can't be...

In that Titanic cue list that has been around the Internet, do not appear the voices/choir in "A PROMISE KEPT" track....... is where it says A PROMISE KEPT REVISED, where can I get that ? And that DRONE AND CHORD ?? I read some guys saying that is the begining of trapped on D deck, but also appears in the end credits ....so it can't be...

I'm pretty sure Drone and Chord is just ambient ghostly background noise that you hear at certain points in the movie. It shows up while the lifeboats are rowing away and Molly Brown says "Now there's something you don't see every day". In the end credits it's just used as a quick segue between "Take Her to Sea Mr. Murdoch" and the last 30 seconds of "Hymn to the Sea". I'm pretty sure in the movie it's also layered on top of "A Promise Kept (Alternate)" when Rose is on the lifeboat looking up at the stars (you can hear a noticeable eerie droning noise at that point in the movie that doesn't appear in the original cue).

I'm not 100% sure on this, but I think when the cuesheet references "A Promise Kept (2nd Part Revised)", it is referring to an edited version of the original track that was used in the movie rather than a completely different version of the cue. Basically Cameron edited together "A Promise Kept" and "A Promise Kept (Alternate)", dialed down some of the voices/choir as you mentioned, layered on "Drone and Chord", etc. Rather than detailing exactly when Drone and Chord is layered onto the track, the cuesheet just combines it all together into "A Promise Kept (2nd Part Revised)". So unfortunately I don't think that exact track exists since it was created during the editing process and was not something recorded by Horner the way you hear it in the film.

Now that you mention it, that part of the cuesheet is interesting (when the lifeboats search for bodies until when Rose blows the whistle and is rescued). Based on the cuesheet, there are actually two tracks playing on top of each other while the lifeboats are searching for bodies. You can hear extra synth voices at that point in the movie on top of the original "A Promise Kept", so I guess that extra missing layer of synth voices is really the beginning of "A Promise Kept (2nd Part Revised)".

The “Drone” is by Michael Stearns. It’s heard as Rose tries to wake up Jack when the boats float by, right before Sissel’s vocals come in. It’s from a much longer piece by Stearns, I forget what it’s called but I found it on YouTube. I was able to find the exact segment used in the film from the original piece. Never noticed it outside of that scene though. I’ll have to listen for it at the other parts you mentioned.

"The Beacon - Those Who Have Gone Before"

Yes that's true, "The Beacon" shows up while Rose is trying to wake up Jack, before the remainder of "A Promise Kept (Alternate)" takes over for the rest of the scene. However, the other drone effect that you hear while Rose is looking up at the stars on the lifeboat and singing "Come Josephine" doesn't appear to be in "The Beacon". I'm pretty sure it is from "Drone and Chord", although I could be wrong. And there are the other additional synth effects earlier in the scene while the crew is calling out for survivors ("Is there anybody alive out there"). Similar to 2 1/2 Miles Down, Cameron seems to like changing things up for the more atmospheric/eerie cues in the film.

The "Drone" part of "Drone and Chord" is not from The Beacon. It's a soft synth tone used as a bridging material from the end of 'Take Her To Sea, Mr. Murdoch' and the strings from 'Hymn To The Sea' for closing out the end credits. The ending of 'Hymn To The Sea' does not feature that soft synth sound.

Yes, that drone is not from The Beacon. You can hear it (very subtle) for the first time when the boats start rowing away and Molly Brown says 'Now that's something you don't see everyday'. It's repeated in 'A promise kept' and in the end credits. To my knowledge, it's not availble in any of the source material. However, I was able to recreate it for both tracks from one of the bluray channels (looped), unfortunately with a slight background noise but acceptable to be used.

Strupie,

Have you finished your v5 edit? :)

I'd love to listen to the latest edit :D

ooh me too!

Finally, after countless hours and hours of editing, I've reached a point where I can say I'm happy with the result. I've remastered every single track, did new mixes and upped the quality, put so much attention to details, it's insane. I think I pretty much covered every edit there is, those noticable and possible to achieve. So forget about v4... this is the version you really want. With the exception of a couple of tracks, I think most are as accurate as possible, much closer than my previous mixes. For example, all the '2 1/2 Miles down' cues are completely reworked, from the ground up.

Please, keep in mind that this still is an interpretation of the complete score. Personal tastes may vary, but this is my definitive mix, and I'll stick with that. I won't do any more updates after this, unless unreleased cues (inserts, drones) get released some way or another. But other than that, this is it.

I also would like to thank Ontario and SilentWitness for their support and guidance through this journey. Your help is much appreciated.

How to get v5? Not yet, I still have to compile a master release, going through quality control right now. But it's coming...

This sounds awesome :)

Eeeeeek! :D

I can't believe you people

I can't believe you people

No... it�s the PEOPLE who can�t believe you...

@StRuPiE that sounds awesome!