INTERSTELLAR – Hans Zimmer (2014) [FLAC]

Tracklist:

1. Dream Of The Crash (3:55)
2. Cornfield Chase (2:06)
3. Dust (5:41)
4. Day One (3:19)
5. Stay (6:52)
6. Message From Home (1:40)
7. The Wormhole (1:30)
8. Mountains (3:39)
9. Afraid Of Time (2:32)
10. A Place Among The Stars (3:27)
11. Running Out (1:57)
12. I’m Going Home (5:48)
13. Coward (8:26)
14. Detach (6:42)
15. S.T.A.Y. (6:23)
16. Where We’re Going (7:41)

Link FLAC:

https://mega.co.nz/#!mdVSxDZT!6k_isSEu9-njwa70D-DIASJt06wWBJ583A5XaSX1Ytc

Totally. Awesome!

Thank you :’)

A GARGANTUAN THANKS!!!!!!!!

Edit: Yey, it worked.

Thanks very much!

https://i.imgur.com/KllPsch.gif

Tracklist:

1. Dream Of The Crash (3:55)
2. Cornfield Chase (2:06)
3. Dust (5:41)
4. Day One (3:19)
5. Stay (6:52)
6. Message From Home (1:40)
7. The Wormhole (1:30)
8. Mountains (3:39)
9. Afraid Of Time (2:32)
10. A Place Among The Stars (3:27)
11. Running Out (1:57)
12. I’m Going Home (5:48)
13. Coward (8:26)
14. Detach (6:42)
15. S.T.A.Y. (6:23)
16. Where We’re Going (7:41)

Link FLAC:

https://mega.co.nz/#!mdVSxDZT!6k_isSEu9-njwa70D-DIASJt06wWBJ583A5XaSX1Ytc

I tip my hat off to you. Thank you for sharing the FLAC version of Interstellar… another masterpiece from the Oscar winning composer… Hans Zimmer.

A great day has been made. Thank you!

Thank you so much for this your awesome!!!

Scott

Hmm lots of O’s, M’s and G’s. Is this the equation in which to save earth?

here the tracklisting for the 23 tracks version

1. Dreaming of the Crash (3:55)
2. Cornfield Chase (2:06)
3. Dust (5:41)
4. Day One (3:19)
5. Stay (6:52)
6. Message From Home (1:40)
7. The Wormhole (1:30)
8. Mountains (3:39)
9. Afraid of Time (2:32)
10. A Place Among the Stars (3:27).
11. Running Out (1:57)
12. I’m Going Home (5:48)
13. Coward (8:26)
14. Detach (6:42)
15. S.T.A.Y. (6:23)
16. Where We’re Going (7:41)
17. First Step (1:47)
18. Flying Drone (1:53)
19. Atmospheric Entry (1:40)
20. No Need To Come Back (4:32)
21. Imperfect Lock (6:54)
22. What Happens Now? (2:26)
23. Do Not Go Gentle Into That Good Night – Various Artists (1:39)

here the tracklisting for the 23 tracks version

1. Dreaming of the Crash (3:55)
2. Cornfield Chase (2:06)
3. Dust (5:41)
4. Day One (3:19)
5. Stay (6:52)
6. Message From Home (1:40)
7. The Wormhole (1:30)
8. Mountains (3:39)
9. Afraid of Time (2:32)
10. A Place Among the Stars (3:27).
11. Running Out (1:57)
12. I’m Going Home (5:48)
13. Coward (8:26)
14. Detach (6:42)
15. S.T.A.Y. (6:23)
16. Where We’re Going (7:41)
17. First Step (1:47)
18. Flying Drone (1:53)
19. Atmospheric Entry (1:40)
20. No Need To Come Back (4:32)
21. Imperfect Lock (6:54)
22. What Happens Now? (2:26)
23. Do Not Go Gentle Into That Good Night – Various Artists (1:39)

A code for the digital download for the star projection deluxe will be emailed on November 18th…. as well as the code for Z+

Z+……

http://i.imgur.com/tSbiqA3.gif

So disappointed!

Unfortunately no…

So disappointed!

Day One Dark could tide you over in the mean time
<.<

oh and this album of course

Thank You Soo Much

Now can???t wait to listen The Illuminated Star Projection Edition

Thanks for the upload…. I had to listen to it out of Curiosity ….. meh same ole Zimmer ;(

Acme’s Portable Wormhole Generator. Be the first kid on your block to open a portal in time and space. Approved by Wil E. Coyote, ESQ and Supergenius.

I hear it’s a great score for the film. Guess I’ll find out if the hyperbole is justified.

I hear it’s a great score for the film. Guess I’ll find out if the hyperbole is justified.

haha The film is excellent and well worth seeing. The score worked great in the film, and I cannot wait to listen to it solo. 😀

Question I always ask with a Zimmer score: Is there once again much action music missing from the movie (since I have no interest seeing the movie in the cinema)?

So far my most favorite track is Day One Dark since it features some action music. And it was once again only a ‘bonus track’ 🙂

Worked fine for me. But for anyone having issues:

http://mir.cr/0VDYKM4O

All thanks to the original poster.

Incidently, @ JHfan, you will like this score cause the there are familiar sounds in the synth atmospheres that you find many times in Horner scores…Hans has definitely gone to the next evolution…

Incidently, @ JHfan, you will like this score cause the there are familiar sounds in the synth atmospheres that you find many times in Horner scores…Hans has definitely gone to the next evolution…

I’m converting it to ALAC for my iPod. I hear it’s organ-based. That should be interesting. Hope it’s not too far into a religious sound though.

Interesting article:

http://www.billboard.com/articles/business/6319718/interstellar-movie-bad-sound-mix-music-hans-zimmer

This is PRECISELY the problem I had with INCEPTION. Loved the film…when I could hear what people were saying! The score was so loud it took me out of it because it drowned out everything else.

Even THE DARK KNIGHT RISES had this issue depending on the type of theater the film was presented in. On Blu-ray it was not an issue at all.

Looks like this is an across-the-board issue this time.

So disappointed!

Isn’t the music from the docking scene in the "Coward" song of this CD? Or maybe I’m confusing things.

Interesting article:

Why ‘Interstellar’ Sound Issues Have Ignited a Hollywood Uproar | Billboard (http://www.billboard.com/articles/business/6319718/interstellar-movie-bad-sound-mix-music-hans-zimmer)

This is PRECISELY the problem I had with INCEPTION. Loved the film…when I could hear what people were saying! The score was so loud it took me out of it because it drowned out everything else.

Even THE DARK KNIGHT RISES had this issue depending on the type of theater the film was presented in. On Blu-ray it was not an issue at all.

Looks like this is an across-the-board issue this time.

I did not have any trouble hearing dialogue in Inception or TDKR. However, it is a big problem in Interstellar. I had to come home and google some stuff because I missed out on why some stuff was happening. Very unfortunate.

That article is just one of many. It’s now a very common complaint and one possible reason the film isn’t doing as well as predicted.

In theaters, INCEPTION was a visual stunner, and an auditory assault I could not stand. It was better when viewing at home because at least I could control the levels.

There’s nothing for ME to get the fuck over. I’ve not even seen it yet.

Most prominently missing are *both* docking scenes (Cooper’s), and all the really great stuff from the sequence in the tesseract (from when he realizes what it is to when he ends up outside it, near Saturn). I suspect these pieces are being saved for the special editions. I hope the special edition releasing on 18th has it, and they haven’t saved up the good stuff for the later release instead.

Some subtle sound effects (wind and such) have been tracked in to some of the quieter tracks (to compensate for less musical density, or add to the ambiance?), and in some cases those sound effects are continuous from one track’s ending to the beginning of the next one, so the tracks in a rearranged playlist (or one with later released cues inserted in there) may not flow into each other as well as they could. The sound effects are not that bad or too distracting, but worth noting.

There is one very good presentation choice on this release, however, that Zimmer has not otherwise taken recently with his newer albums; all the cues are in chronological order (to my understanding, at least). I mention this so you can better understand what cue goes with which scene. The titles are actually relevant to the scenes from the film, unlike "The Dark Knight"’s score, whose titles were misleading.

Though this set is missing important moments, it is still an excellent listening experience on album. And for those lamenting that their favorite musical moments were not included, there is similar stuff to those pieces in this presentation for now. And you guys can find "Day One Dark," which is similar to the second docking scene.

Despite my seemingly nitpicky observations, I think this score and this release are surprisingly satisfying. The cues feel like parts of a cohesive whole. It’s great.

Most prominently missing are *both* docking scenes (Cooper’s), and all the really great stuff from the sequence in the tesseract (from when he realizes what it is to when he ends up outside it, near Saturm). I suspect these pieces are being saved for the special editions. I hope the special edition releasing on 18th has it, and they haven’t save up the good stuff for the later release instead.

Some subtle sound effects (wind and such) have been tracking into some of the quieter tracks (to compensate for less musical density, or add to the ambiance?), and in some cases those sound effects are continuous from one track’s ending to the beginning of the next one, so the tracks in a rearranged playlist (or one with later released cues inserted in there) may not flow into each other as well as they could. The sound effects are not that bad or too distracting, but worth noting.

There is one very good presentation choice on this release, however, that Zimmer has not otherwise taken recently with his recent albums; all the cues are in chronological order (to my understanding, at least). I mention this so you can better understand what cue goes with which scene. The titles are actually relevant to the scenes from the film, unlike "The Dark Knight"’s score, whose titles were misleading.

Though this set is missing important moments, it is still an excellent listening experience on album. And for those lamenting that their favorite musical moments were not included, there is similar stuff to those pieces in this presentation for now. And you guys can find "Day One Dark," which similar to the seconding docking scene.

Despite my seemingly nitpicky observations, I think this score and this release are surprisingly satisfying. The cues feel like parts of a cohesive whole. It’s great.

You’ll more than likely find more music from the digital deluxe and the illuminated star projection pack.

Of course. I’m just hoping those key moments I mentioned are on the Digital Deluxe, releasing on 18th, an not saved for the Illuminated Star Projection Pack which comes later.

edit:

Through page five and honestly surprised that there’s only one negative comment (regarding Zimmer’ work). Just wait… By tomorrow night I’m betting they’ll show up – they just can’t seem to help themselves, hahaha.

The IMAX screening was unbearable, with bass frequencies and music levels drowning out the dialog. Saw it again in 70mm and the sound was perfect.

related tweets (http://www.slashfilm.com/interstellar-sound-issues/)

In theaters, INCEPTION was a visual stunner, and an auditory assault I could not stand. It was better when viewing at home because at least I could control the levels.

This is why I almost never go to the theaters anymore. Even if the mixing is done well, the movies are so damned loud. They often give me headaches, and the coming attractions are the worst of all. I’m surprised any of the younger movie going crowd has any hearing left.

I justified getting a nice big hi-def TV, a Blu-ray player and nice stereo by using the money I save not going to movies. Adds up quick, especially with ticket prices these days!

Does anyone know if the deluxe editions come with the end credits cue?

also it feels like some tracks were reused in the movie itself (The first docking sequence sounds a lot like Wormhole)

related tweets (http://www.slashfilm.com/interstellar-sound-issues/)

Same here. Saw it on IMAX, none of the dialogue was clear. The bass was so high my seat was shaking all the time, even when there was no loud sound effects. It was horrible, sound wise. If I see it again, I’ll see a regular screening.

Most prominently missing are *both* docking scenes (Cooper’s), and all the really great stuff from the sequence in the tesseract (from when he realizes what it is to when he ends up outside it, near Saturm). I suspect these pieces are being saved for the special editions. I hope the special edition releasing on 18th has it, and they haven’t save up the good stuff for the later release instead.

Some subtle sound effects (wind and such) have been tracking into some of the quieter tracks (to compensate for less musical density, or add to the ambiance?), and in some cases those sound effects are continuous from one track’s ending to the beginning of the next one, so the tracks in a rearranged playlist (or one with later released cues inserted in there) may not flow into each other as well as they could. The sound effects are not that bad or too distracting, but worth noting.

There is one very good presentation choice on this release, however, that Zimmer has not otherwise taken recently with his recent albums; all the cues are in chronological order (to my understanding, at least). I mention this so you can better understand what cue goes with which scene. The titles are actually relevant to the scenes from the film, unlike "The Dark Knight"’s score, whose titles were misleading.

Though this set is missing important moments, it is still an excellent listening experience on album. And for those lamenting that their favorite musical moments were not included, there is similar stuff to those pieces in this presentation for now. And you guys can find "Day One Dark," which similar to the seconding docking scene.

Despite my seemingly nitpicky observations, I think this score and this release are surprisingly satisfying. The cues feel like parts of a cohesive whole. It’s great.

I think the second docking scene is included in the bonus track "Day One Dark" – at least it’s in the second half of that track, it seems to be a suite that starts with music from inside the tesseract and then goes onto the docking, which Zimmer likes (annoyingly) to do with a lot of his releases, and mix two or more pieces into a single suite – it sounds like it from memory. If right the second half of it should chronologically go before detach. The first half I believe should come after "Detach" and before "S.T.A.Y.". The other released promo track "Destiny" i believe to be when Cooper is watching the messages, if right i think it would come after "Afraid of time".

So…where are the other seven tracks listed in Hans Zimmer’s website?

I hear it’s a great score for the film. Guess I’ll find out if the hyperbole is justified.

It wouldn???t be the Shrine if there wasn???t any Zimmer hyperbole 😉

As someone who absolutely detests and I mean DETEST Zimmers music and this Interstellar is absolute Garbage imo, Zimmers The Amazing Spider-Man 2 score is simply the best he???s ever done….. esp listening to it in Chronological Order put still not a patch on Horners effort 😉

actually its sometimes the other way around
Zimmer makes suites and then he and his people develop their own themes from there
Day One Dark could have existed before the 2nd docking cue was made, the first half uses music that was in multiple other scenes too.

and "destiny"? Isnt that just trailer music?

It’s not really meant to be an exploration of the organ as a solo instrument though, is it? But the degree to which it has generated widespread interest in the instrument is wonderful, and it is a wonderful score.

Incidentally, I must disclose that I didn’t particularly enjoy Mr. Jarret’s improvisations. I understand that he is a pianist, and it certainly shows: he utilizes the pedals of the instrument sparsely if at all (unless the very tinny sound quality masks their effect), which rather castrates the sound, removing a key characteristic of the instrument’s capabilities. Musically interesting, but not exactly a tour de force showcasing of the pipe organ, either.

As in your thread, I recommend Paul Halley’s Nightwatch as a "gateway drug" for anyone looking to become familiar with the pipe organ in a not-so-strictly "classical" context.

Thanks.

Also, though I know Nolan loves his celluloid, seeing this in 35mm was a big mistake. Projectionists sucked at sharp focus even when celluloid was all there was. Now that many of them have never known anything but digital, expecting them to project this well was a fool’s errand.

Maybe the IMAX projectionists are better. But I wouldn’t gamble the price of an IMAX ticket to find out. Digital for me, thanks.

Also, though I know Nolan loves his celluloid, seeing this in 35mm was a big mistake. Projectionists sucked at sharp focus even when celluloid was all there was. Now that many of them have never known anything but digital, expecting them to project this well was a fool’s errand.

Maybe the IMAX projectionists are better. But I wouldn’t gamble the price of an IMAX ticket to find out. Digital for me, thanks.

I imagine the genuine IMAX theaters (not the LIEMAX ones at multiplexes) employ experienced projectionists who actually know their craft.

Thanks a lot for sharing this!

Thank you very much!

Just my opinion. Not important to those who do find joy in this music. Just wish I did.

Soundtrack Details For Hans Zimmer’s ‘Interstellar’ Revea | The Playlist (http://blogs.indiewire.com/theplaylist/soundtrack-details-for-hans-zimmers-interstellar-revealed-20141028)

😉

———- Post added at 04:36 AM ———- Previous post was at 04:28 AM ———-

You’re the first person I’ve EVER heard to reference E Power Biggs! I have the vinyl LP of the Toccata And Fuge in D Minor by him, and it’s the best recoding EVER of that piece by Bach in centuries. That said,I must politely but STRONGLY disagree with you about this score.In a career FILLED with standout scores,THIS one stands out among the standouts.Respects…[COLOR="Silver"]

Either that or the equation to locating alien life in the universe. (Or maybe Darkseid’s infamous Anti-Life equation?)

Saw Interstellar and it’s going in my personal Top Ten for 2014. Now to see it in IMAX.

———- Post added at 10:59 AM ———- Previous post was at 10:57 AM ———-

There’s a 23 and a 28 track version coming.

Soundtrack Details For Hans Zimmer’s ‘Interstellar’ Revea | The Playlist (http://blogs.indiewire.com/theplaylist/soundtrack-details-for-hans-zimmers-interstellar-revealed-20141028)

———- Post added at 10:59 AM ———- Previous post was at 10:57 AM ———-

There’s a 23 and a 28 track version coming.

Soundtrack Details For Hans Zimmer’s ‘Interstellar’ Revea | The Playlist (http://blogs.indiewire.com/theplaylist/soundtrack-details-for-hans-zimmers-interstellar-revealed-20141028)

thanks!

Does anyone have the free track you get from http://www.movietickets.com/movie/mid/159557? I don’t live in the US and wont be able to get a copy.

https://mega.co.nz/#!eoQC2AxT!AHXB0JSeeYYoP9vRCLcWe0nYKNKU25bbB7KYOmQ TzlE

It’s a Government plot to bankrupt the Russians.

I’ve made some custom covers for the soundtrack, you can find them here: http://forums.ffshrine.org/f92/official-custom-covers-thread-90457/178.html#post2815114

I’ve made some custom covers for the soundtrack, you can find them here: http://forums.ffshrine.org/f92/official-custom-covers-thread-90457/178.html#post2815114

They are incredible! Great work

I would also like to state that my musical tastes (as far as film scores go, anyway) are not just RCP. I listen to Jarre, Williams, Goldsmith, Morricone, Elfman, Tyler and Desplat regularly. Zimmer isn’t all I listen to.

I have loved Zimmer since I first heard his work when I saw Black Rain theatrically. It was one of the first CD’s I ever owned and played those four score suite tracks on repeat until my family started to wonder about me. I have followed his work (alongside many film music greats like Goldsmith, Williams, Elfman, etc) ever since and he has written so much music that will forever be in my head and my heart.

It is with this in mind that I feel a sense of justified opinion when I state my opinion that Zimmer’s work has been on the decline since 2001’s Hannibal. His talent for creating memorable themes and finding successful harmonies has regressed into writing dissonant background music… or as others describe, sonic wallpaper. Interstellar is a prime example of this to me, with its blend of Thin Red Line and Philip Glass (but reaching the heights of neither), serving as a perfect example of his current output. I have no beef with those who enjoy and promote this music (as long as they don’t bash others for not liking it), however I know my tastes and prefer thematic motifs rather than dissonance.

Zimmer is not alone in this regard… as I am disappointed by each and every Williams, Elfman, Horner score that comes out these days. Long-gone are the days of strong signature themes, eschewed in favour of slow, characterless dissonance. While clearly biased towards my own opinion, I did start to imagine that I was simply outgrowing filmmusic… however I occasionally stumble across a score from the 80’s or 90’s that I had not actually heard before and fall in love all over again… and that alone makes me feel that it is the music that has changed, rather than me or my tastes. One notable example is Zimmer’s own Drop Zone. Never really got around to seeing or hearing it back in the day, but caught up with it a couple years ago and remains one of my favourite Zimmer scores… again reflecting his focus on great themes and harmonies that I just find lacking in his current output.

According to the site that is selling it, it will be 35 minutes of material that will be unavailable to the standard and digital deluxe editions. It could be Zimmer’s sketchbook of musical ideas he shared with Nolan during production. Who knows really.

Thanks. I’d seen that already, but was curious if there’s been any "insider" word on what that material would be. I can’t imagine they would be so cheap as to just give us a rehash of material via suites, however, by that same token, they already are "cheaping" us with the 16->23 releases, so to speak. If I may, a bit of a side-note rant —

I absolutely detest the scummy marketing ploy of purposefully "crippling" a movie (or its music) in order to stretch it across multiple releases, as has been done here with the 16->23 track versions. Disgusting. I wouldn’t mind this at all if the deluxe editions came with bonus material not seen in the movie, like recording-session type material (like the Illuminated Star edition looks to be). But when they intentionally withhold tracks that were in the actual theater release to put into a separate purchase, that’s like selling a Bluray with a handful of the theater’s scenes ripped out… until you buy a separate release to add them back in. Another disgusting example of this is Star Trek: Into Darkness’ 4-5 Bluray releases, each with its own mouthful of bonus scenes, unavailable everywhere else.

Yeah, yeah… "But capitalism!", or "Just wait and buy the bigger release!", and all that jazz. It’s the principle, however — a cheap, desperate attempt at a money grab, and punishing who? Why, none other than the loyal fanbase, treating them like nothing more than mere drug addicts because they know they can. If only enough of us "addicts" could vote with our wallets to punish them for such, to stop such mafia-like practices.

Anyway… /rant

🙂

(And for reference, I absolutely loved this movie and score! Brilliance. And no doubt, this "scam" obviously doesn’t stem from the creatives, like Zimmer or Nolan, but rather, some weaselly, beady-eyed marketing director, rubbing his/her greedy little hands together over the $$$ forecasts.)

https://www.dropbox.com/sh/ijxmxnut30nyqjo/AAAXlub63GxLcDbuYgUQi1gLa?dl=0

I hope you all enjoy it,as I enjoyed making it.

It is with this in mind that I feel a sense of justified opinion when I state my opinion that Zimmer’s work has been on the decline since 2001’s Hannibal. His talent for creating memorable themes and finding successful harmonies has regressed into writing dissonant background music… or as others describe, sonic wallpaper. Interstellar is a prime example of this to me, with its blend of Thin Red Line and Philip Glass (but reaching the heights of neither), serving as a perfect example of his current output. I have no beef with those who enjoy and promote this music (as long as they don’t bash others for not liking it), however I know my tastes and prefer thematic motifs rather than dissonance.

Zimmer is not alone in this regard… as I am disappointed by each and every Williams, Elfman, Horner score that comes out these days. Long-gone are the days of strong signature themes, eschewed in favour of slow, characterless dissonance. While clearly biased towards my own opinion, I did start to imagine that I was simply outgrowing filmmusic… however I occasionally stumble across a score from the 80’s or 90’s that I had not actually heard before and fall in love all over again… and that alone makes me feel that it is the music that has changed, rather than me or my tastes. One notable example is Zimmer’s own Drop Zone. Never really got around to seeing or hearing it back in the day, but caught up with it a couple years ago and remains one of my favourite Zimmer scores… again reflecting his focus on great themes and harmonies that I just find lacking in his current output.

I am curious. What would you consider to be the best theme of all time? Out of all composers.

I kind of agree in what you are saying here about film scoring becoming dissonant background music, but to me what you are describing is not the composer declining in his work, but the change of film music in general. The use of strong signature themes in films are seen old-fashioned these days.

Truth.

———- Post added at 09:02 AM ———- Previous post was at 08:59 AM ———-

The deluxe version should be on itunes for you guys. Mastered for itunes by the way

And no samples grrr….

Give it a few hours for samples and a full upload everywhere :p

No, as in, I press play to get samples – and they’re all silent at 5 seconds long!

Yeah… iTunes has done that before… idk if they make that decision or the record company does?

And if I’m not mistaken isn’t the whole thing "album only".. meaning you can not buy individual tracks

It’s always like that when artists specify to not release samples in advance. They will show up and work when the albums is released in the US in a few hours.

I will be getting it off iTunes at 11:00pm EST tonight as new releases are always available an hour before release date.

Even though I pre-ordered the star projection set and they said they will be emailing the code on the 18th… for all I know they could email the code late in the day.

I want this score lol

And if I’m not mistaken isn’t the whole thing "album only".. meaning you can not buy individual tracks

On NZ you can buy individual tracks.

well then maybe it’s just set to album only until release date

Do we not have any NZ people here? :/

I’ve made some custom covers for the soundtrack, you can find them here: http://forums.ffshrine.org/f92/official-custom-covers-thread-90457/178.html#post2815114

Needs more Hathaway. 🙂

Can’t wait for the Illuminated Star Projection Edition 28 tracks

Could you check the sample for Imperfect look…Is it the second docking scene?

They play 5 seconds of silence?

you wouldnt be able to tell unless the sample is from way late in the track

True…however it’s been confirmed… It’s not that track:(

Imperfect Lock isn’t the spinning docking sequence? Are you sure?

And judging from the samples

First Step – May be the teaser trailer music 😀

Flying Drone – Obvious what scene this is

Atmospheric Entry – I’m not sure

No Need To Come Back – I’m pretty sure this is the Home Recordings/Beginning of Murph and Prof. Brand

Imperfect Lock – Docking Scene (fingers crossed… the sample is only the part where Mann was docking)

What Happens Now – Tesseract Scene?

Do Not Go Gentle Into That Good Night – the cast reciting the poem

True…however it’s been confirmed… It’s not that track:(

28 track version our only hope!

Yup…Hopefully it’s not just suites

Nope, 1min30 of music

So they give us the teaser trailer cue but not the spinning dock cue >.<

Where is the world headed…

And this is why yet again WaterTower releases piss me off

IT BETTER BE ON THE STAR PROJECTION SET

Thats not what this guy is saying

Oh no…
:cryingbatman:

what

That would be sour.

IT BETTER BE ON THE STAR PROJECTION SET

Yep it also annoys me they only release the Star Projection Set in the USA and no where else. That just encourages piracy, I would have happily purchased that.. I have the Deluxe version coming tomorrow. No idea why they have to release so many different versions, its ridiculous

The spinning dock cue better be on the damn projection set… I’m paid $40 for it and it better include the best cues on it

I hope so too! I bet there will be another release down the road, they normally seem to milk these types of releases.

What ? You’re 100% sure ? Oh no…

No idea why they have to release so many different versions, its ridiculous

We see ridiculous things nowadays. I think about a brilliant TV score that is not released despite the plea of many fans and the composer (while useless merchandise is released, so clever). I think about some soundtracks that lack the defining tracks of the movie (whether they are on an extended edition or not, which is even sadder).

People are getting quite angry over at hans-zimmer.com right now…

People are getting quite angry over at hans-zimmer.com right now…

One person said they are canceling their order of the standard CD and not even getting the deluxe off iTunes

And it’s removed by the user. Anyone grab it?

It was First Step… which is the teaser trailer cue

So we get that cue but not the fucking cue everybody and their mother wants

The spinning dock cue better be on the damn projection set… I’m paid $40 for it and it better include the best cues on it

I hope so too! I bet there will be another release down the road, they normally seem to milk these types of releases.

I’m going to go ballistic if Imperfect Dock doesn’t have the buildup and moment of the actual Imperfect Dock ("before" and "after", in lieu of spoilers). I despise this increasingly oft-used marketing ploy of breaking up a release into multiple releases just to string the fans along for more money-grab. It’d be perfectly acceptable if there were two versions: version A: all music from the theatrical release, and version B: extra non-theatrical music, like recording sessions.

But when they inject an extra version that includes "more" music from theatrical, I loathe the hand-wringing marketing directors who are rubbing their hands together with $$$ in their eyes as they tap the loyal fanbase like mere drug addicts.

But when they inject an extra version that includes "more" music from theatrical, I loathe the hand-wringing marketing directors who are rubbing their hands together with $$$ in their eyes as they tap the loyal fanbase like mere drug addicts.

This is why I fucking hate WaterTower Music

They made TDKR seem big and fancy with the Z+ exclusive apps… it was just 4 suites

https://www.youtube.com/watch?v=rrt-L_9L3FI&feature=youtu.be

But when they inject an extra version that includes "more" music from theatrical, I loathe the hand-wringing marketing directors who are rubbing their hands together with $$$ in their eyes as they tap the loyal fanbase like mere drug addicts.

to be fair
Imperfect Lock is perfectly titled
"Perfect Lock" would be a better name for the music we all want

lol true… but still

Good point 🙂

– Full MP3 digital download of the Interstellar Soundtrack on November 18th.
– Z+ App Free Download of Soundtrack in DTS Headphone: X Surround Sound
– Download Code will be emailed on November 18.

Does that mean the "extra" tracks will be available as well tommorow before the CD box gets send out?

I haven’t seen the movie but I guess this is what everybody is wanting? https://www.youtube.com/watch?v=bYa5luHb2DA

Source: The Pitch (http://www.pitch.com/kansascity/interstellar-christopher-nolan/Content?oid=4978849)

most of the unreleased stuff already sounds really similar to other music

edit: atmospheric entry is too short to be that
No Need to come Back is for Brands last scene and the entrance on the iceplanet

Imperfect Lock we already now

First Step and Gentle into that Good Night are not from the movie
no clue about What Happens Now yet

Nevermind. Found the problem.

Imagine if they didn’t release the additional track "Day One Dark" (which isn’t on the official OST either). Then we would almost have all the music except the 2 coolest moments of music .

Sigh. Whoever selects the music for this album must be a sadist. 🙂

Also: people don’t get your hopes up cause like everyone did for ‘Imperfect Lock’. Chances are very high it isn’t on the other version either. I suspect this will be demo sessions, mockups and additional suites like with MOS

Thanks man! I love you.

Fucking Zimmer. Super lame.

I am appreciative of having 2 of these cues at least

No Need To Come Back and A Place Among the Stars are the same… No Need To Come Back is the one that is in the film though

So no spinning dock cue or home recordings cue… THESE BETTER FUCKING BE ON THE STAR PROJECTION EDITION

Home recordings were probably left of for sounding too much like other themes

this is why I started dreading as soon as I saw how long the entire scene between Coward and Detach was

Seems like it was a combination of Day One and What Happens Now?, but I think the IMAX credits had a different piece altogether that I can’t remember.

I somehow remeber it having a lot of piano, and I remember thinking while getting out how unusual for Zimmer to have that rich piano cue playing a melody, without droning atmospheric synths in the background… it was very nice… but it could’ve been Day One lol (I saw it in Imax)

Anyhow that 2 CD edition is advertised as having 35 minutes of new music so it MUST contain docking scene… does anyone know when will it be released?? (as I can’t even order it)

:parrot:

:parrot:

You mist the most important part 😉
The end part of Mountains with the additional epic notes.

:parrot:

Made my own version myself too, lol glad im not the only one with this idea (putting the two together)

Spoilers ahead : it’s the track that plays with the scene when Michael Caine’s Dr Brand dies and reveals his "lie" on his hospital bed. You know, that ultra tense, ominous track with a creeping organ drone and those Ligeti-ish vocals ? That one.

I was talking to someone earlier about this. If tracks need to be slightly overlapped to give the film order a proper flow, I volunteer. But I’ll only do it if the files are FLAC.

And regarding the end credits, I feel like it was a variation of Day One with a beautiful piano that faded out. I’ve only seen it in digital IMAX and do not plan to see it again in any other format (I’ll be seeing it in 70mm in December), so I don’t know what to say about the theory of the credits being different for each format of the film…

Spoilers ahead : it’s the track that plays with the scene when Michael Caine’s Dr Brand dies and reveals his "lie" on his hospital bed. You know, that ultra tense, ominous track with a creeping organ drone and those Ligeti-ish vocals ? That one.

That is one of the bonus tracks, yes. No Need To Come Back

———- Post added at 04:25 PM ———- Previous post was at 04:23 PM ———-

I was talking to someone saltier about this. If tracks need to be slightly overlapped to give the film order a proper flow, I volunteer. But I’ll only do it if the files are FLAC.

And regarding the end credits, I feel like it was variation of Day One with a beautiful piano that faded out. I’ve only seen it in digital IMAX and do not plan to see it again in any other format (I’ll be seeing it in 70mm in December), so I don’t know what to say about the theory of the credits being different for each format of the film…

The IMAX presentation had a brief piano piece, yes. Non-IMAX had a combination of Day One and What Happens Now?

This is what I have come up with

The end credits I recorded is from the IMAX so it’s the piano one

And regarding the end credits, I feel like it was a variation of Day One with a beautiful piano that faded out. I’ve only seen it in digital IMAX and do not plan to see it again in any other format (I’ll be seeing it in 70mm in December), so I don’t know what to say about the theory of the credits being different for each format of the film…

I saw it both digital IMAX and 70mm IMAX…. both times it was just a straight piano piece

I can assure you it will. But nothing yet. Assume it will be last year’s 12 Years. Zimmer FYCs are murder

However…..it IS Paramount, and they have a history of releasing FYCs that are identical to the OST. WB is known for doing the same thing. But, WB owns the rights to the score and yet Interstellar is on Paramount’s FYC site and not Warner Bros.’, so I don’t know who’s releasing it

You’re the man! Thanks for sharing it.

All of the IMAX releases had the same shorter piano piece for the credits, since they all had the shortened credits to allow for maximum movie within the IMAX runtime limits.

Soundtrack Information:
Joe Kara
WaterTower Music
818-954-5017

?!

Is there something wrong with my grammar in that sentence? If that’s the case, sorry, I’m not a native speaker. I just meant to say that the score would deserve a win at the Oscars.

Nope, it’s similar to Cornfield Chase though.

That would be me. The End Credits fade with a piano that (so far) I don’t think I’ve heard anywhere else in the score…

I was wrong! It’s at the end of What Happens Now 😀 😀 😀

Thanks Alex. You might wanna re-upload it though, because you didn???t scrub your personal info (your full name is visible in the metadata), you can use iTMS Scrubber for that.

Or he can simply just create an AAC version of the 6 individual tracks. No quality loss and it will take about 30 seconds

The OST (which is what this thread is) is FLAC, a rip of the physical CD. The bonus tracks are 256 m4a from iTunes

No, the credits one is more downbeat. The tesseract/"Eureka" moment one is more… rippling.

Thanks. 😀

I agree. Just madness.

Thanks a lot. Best thing about the booklet = explanation behind the track ‘Day One’ and its title 🙂

———- Post added at 01:58 AM ———- Previous post was at 01:56 AM ———-

This is what I have come up with

The end credits I recorded is from the IMAX so it’s the piano one

My mail is [email protected]

Thnk you man! 🙂

There’s a chance it may be on the illuminated star projection set

So we haven’t (or haven’t yet) the arrangement of the theme at the end of the Tesseract scene (the Morse code) if I’m not mistaken ? …

Nope 🙁

The "Rage against the dying of the light.." track should have been read by just Michael Caine. He expresses it perfectly in the film and to not even have him included among the cast who read it on the CD is madness!

they release that shit instead of actual cues from the film

Holy shit, there’s an actual shot of a slate in the booklet. Looks like 6m24 v3.01 Flora’s Letter? Am I reading that right? I don’t remember any "Flora"….

———- Post added at 08:22 PM ———- Previous post was at 08:21 PM ———-

analysis – Connection between Interstellar and &#39;Flora&#39;s Letter&#39;? – Movies & TV Stack Exchange (http://movies.stackexchange.com/questions/26927/connection-between-interstellar-and-floras-letter)

I pulled this from the booklet, it would make a beautiful cover

2.) Cornfield Chase
3.) Flying Drone (Bonus Track)
4.) Dust
7.) Message from Home
8.) Atmospheric Entry (Bonus Track)
9.) The Wormhole
11.) Afraid of Time
12.) No Need to Come Back (Bonus Track)
13.) A Place Among the Stars
16.) Coward
17.) Imperfect Lock (Bonus Track)
18.) Detach
19.) S.T.A.Y.
20.) What Happens Now? (Bonus Track)
21.) Where We’re Going

https://mega.co.nz/#!XNYUiDwA!pDDoGAIYKt7wdm84ZEga3rBVdlABlr-8vaC6vgU2dAU

You raise a very good point actually, and I would concur to a degree… however I do still feel like composers run out of steam (or music!), regressing to writing music that exists in the background, rather than shining through to the forefront. There will be many who argue that filmmusic is meant to be part of the background, with it even being quoted that "filmmusic should be unnoticed within the film". Well, I sure don’t agree with that statement, and I am sure many would agree with me that the likes of early Elfman, Williams, Goldsmith, et al being more memorable than the film itself!

I am curious. What would you consider to be the best theme of all time? Out of all composers.

Oohh… such a hard question and I don’t really believe that I could have just one favourite. Instead. I’ll try to give you an idea of my tastes by listing some of my favourite tracks per composer:
Jerry Goldsmith (long after his death he remains my favourite composer!):
– The Edge: Lost In The Wild
– Sleeping With The Enemy: Morning On The Beach
– Poltergeist: Rebirth
– Warlock: The Sentence
– Rudy: Main Title

John Williams:
– Black Sunday: Preparations
– The Fury: Main title
– Witches Of Eastwick: Dance Of The Witches
– Schindler’s List: Schindler’s Workforce
– Harry Potter: Hedwig’s Theme (Children’s Suite)

Danny Elfman:
– Darkman: Creating Pauley
– Dick Tracy: Main Titles
– Edward Scissorhands: Ice Dance
– Nightbreed: Main Titles
– The Wolfman: The Wolf Suite (Part 1)

Hans Zimmer:
– Black Rain: Nick And Masa
– Bird On A Wire: Mr Wriggley is Back!
– Backdraft: the entire freakin’ score suite!
– Drop Zone: Hijack
– POTC On Strange Tides: Mermaids

Of course… this is merely a small sample. I love so many tracks from these plus so many more composers.

I could be wrong…

Thanks a bunch. 🙂

Yeah, Day One Dark is getting a LOT of listening time over the next few days!

Scratch that, my iPhone is telling me it’s not installed yet it’s synced on there, and it’s not on the app store. What the fuck is going on

This is my post, I made the docking sequence music myself. Make it go viral or something, you’ll like it.

I did a massive edit of the tracks we have already and then added my own organ layers on top to make it sound more like the film version.
(paying massive attention to detail)

WTF

Before you burn everything to the ground, I don’t have much details but you’ll have "good news" soon and everyone "will be happy"… It’s a little vague for now, I don’t know if that means it’s in the Illuminated or not, or if they’ll make it available digitally or something. But we’ll have it in the end.

So it’s "Darksiders II" situation all over again. They didn’t include the best track on the album and it’ll be release as separate digital song apparently.

Hans: "We are going to give it away for free…We are just waiting on some additional clearances. But the record company is totally into it. Plus, they are working really hard to make the "Lightbox" available everywhere. It’s quite complicated."
Hans-Zimmer.com – Interstellar (http://hans-zimmer.com/index.php?rub=disco&id=1256)

No, that’s the big deal – Imperfect Lock is NOT the Docking Scene everyone wants

Ahh.Well,maybe it’s on the 2 Disc Illuminated Star Wheel version due out around Christmas.

———- Post added at 05:44 AM ———- Previous post was at 05:38 AM ———-

So, this "Day One Dark" track everyone is on about:is this some kind of internet exclusive track you get with a code or something like the bonus tracks "Risen From Darkness" and "The Shadows Betray you" from Dark Knight Rises?

———- Post added at 05:44 AM ———- Previous post was at 05:38 AM ———-

So, this "Day One Dark" track everyone is on about:is this some kind of internet exclusive track you get with a code or something like the bonus tracks "Risen From Darkness" and "The Shadows Betray you" from Dark Knight Rises?

It’s not on that – which is why, like I posted on the top of the page, Zimmer’s going to release the track for free 😀

Day One Dark is an internet exclusive given away when buying tickets through movietickets.com

Day One Dark is an internet exclusive given away when buying tickets through movietickets.com

Well,patience is a virtue.All this grumbling about it wont help it come out faster.Remember, we had to wait YEARS for a complete version of "Inception". Just my opinion.

So to be clear,this "spinning docking piece" that everyone wants;THAT’S the one he’s going to give away for free?

So to be clear,this "spinning docking piece" that everyone wants;THAT’S the one he’s going to give away for free?

Apparently a lot of grumbling got some of the bonus tracks for Inception released and now they’re working on getting out the actual Docking sequence track. So it does help to grumble.

If you mean grumbling here, then yeah, it probably won’t be seen or heard.

———- Post added at 10:38 PM ———- Previous post was at 10:35 PM ———-

Maybe we should try the same thing with John Williams and annoy the hell out of him…maybe he’ll give in and release everything *pleasegodpleasegodpleasegod*

If you mean grumbling here, then yeah, it probably won’t be seen or heard.

———- Post added at 10:38 PM ———- Previous post was at 10:35 PM ———-

Maybe we should try the same thing with John Williams and annoy the hell out of him…maybe he’ll give in and release everything *pleasegodpleasegodpleasegod*

We???ve been annoying the hel out of John Williams for 40 years and still nothing 😉

Buying it from there you get an email code 2 download it today

intergalactically grateful.

Buying it from there you get an email code 2 download it today

The code was for a 256kbps mp3 of the 23 track deluxe

Those diabolical bastards

Not to be rude, but is this true 320 or just a transcode?

What’s the source? I thought the bonus tracks from the deluxe set were only available in 256kbps? Unless there’s a CD version I’m not aware of?

iTunes is 256 m4a which is equivalent to 320 mp3

And if I’m not mistaken, Google Play is 320?

iTunes is 256 m4a which is equivalent to 320 mp3

And if I’m not mistaken, Google Play is 320?
Yes and no, iTunes VBR/256 was equivalent at CBR/320 few years ago, but now (since 2011 I think) the Apple codec was updated and M4A/AAC in VBR/256 is better than MP3 CBR/320.

"Need for Speed: The Run (2011)" by Brian Tyler has a bitrate between 260 – 280 kbps, all "Assassin’s Creed Unity/Rogue (2014)" scores released this month between 280 – 360 kbps, and the results after the analysis shows the entire tracks in max quality possible like a FLAC or WAV, only superior noise is deleted.

With iTunes M4A/AAC lossy, at present MP3 is an extint format in all terms.

About Google Play, yes, is 320, but the codec/lowpass used is shit, so the result really is 320 like 256.

And as for the poem track — useless! Each actor reads their part like they’re Skyping with grandma on a Friday night. To be fair, the idea of the track is completely hokey, and I don’t blame the actors for being like "Uh, ok…?"

There’s one and only one actor who should’ve read the poem in its entirety — Michael "The Mother-Trucker" Caine. Bizarre that they didn’t even have him at least start/finish the track.

*Sigh*. All I need is my "Perfect Lock" and this grumpy ol’ girl can go along her way 🙂

Okay, thanks. 🙂

you have this?????

Please wait for a real copy. This is a fake one. Someone converted this from MP3 files.

Please wait for a real copy. This is a fake one. Someone converted this from MP3 files.

How the hell do you think?

Please wait for a real copy. This is a fake one. Someone converted this from MP3 files.

Checked with A.A.: real lossless.

Frequency is an imprecise method to detect if a song is lossless or not, you can have an audio lossless-file in 5, 6, 7, 8, 9, 10, kHz if you want, for example splitting the waveform of a symphony to obtain an old gramophone sound effect without mixing the track.

I most certainly do. I’m just waiting for my frame and mount then it will be up there with my signed horner titanic and elfman

(http://postimg.org/image/db5niuojn/)

(http://postimg.org/image/db5niuojn/)

How and where did you get this????

(http://postimg.org/image/db5niuojn/)

How and where did you get this????

+1!

…?

Please wait for a real copy. This is a fake one. Someone converted this from MP3 files.

Bullshit. The frequency response cuts off of where it is supposed to – at 22,050 Hz. Which is normal for 44.1 kHz based tracks. I???m sorry… but please, do your homework.

Nevertheless, I will buy my own copy once the big set is out. I can???t pass on this odd mixture of Krull/Tubular Bells/Vangelis.

I have met him a couple of times and got over 20 albums signed by him. I got this off a friend who met him in the states.
I have started a thread based on autographs of composers in the general interest section if you want to see more mate

I think I need to lay down for a while.

<em>and</em>…P. Glass, R. Strauss (Thus Spake Zarathustra’s organ crescendo), Wagner (Tristan and Isolde’s yearning chromaticism), Goldsmith (POTA’s echo-plexed Statue of Liberty reveal), his own much imitated Batman ostinato (Docking, etc.), Morricone, of course, and last but not least, a lighthouse foghorn.

So, a veritable smorgasbord of riffs and regurgitations which make for a somewhat fragmented yet surprisingly entertaining, but definitely overlong, pastiche.

They have said on the site that is being released December 18th

I saw "ships 3-5 days after release".

I just hope we get it before Christmas

There, now ya happy? 😀

FYI, can’t bloody buy the soundtrack in iTunes, not in my country, WTF!

i second that 😀

One question, how do I delete the info iTunes puts in of my account and all without converting? I assume you’ll want the m4a file 😀

One question, how do I delete the info iTunes puts in of my account and all without converting? I assume you’ll want the m4a file 😀

it doesnt matter if its mp3 or m4a

UPLOADING TO MEGA.

———- Post added at 09:33 PM ———- Previous post was at 09:32 PM ———-

I see all the reviews for the soundtrack went away as well…aha

———- Post added at 09:33 PM ———- Previous post was at 09:33 PM ———-

They must have literally taken them off the store.

There you go!! I named NTFC just because, but it’s the track, M4A and all. ENJOY!

Place it on the front of the page so everyone sees it or whatever.

No need to thank me, thank Zimmer for managing to give it, even if not free (blasted WT), and thanks to my useless gift card I had lying around that I though I’d never use. Now I’m gonna blast the track on speakers or something.

It’s called ‘No time for caution’.

edit: compare that to "mountains" which actually sounds like it sounded in the movie

~~

And with this the summary at present day, the triple combo:

The Dark Knight, Man of Steel, and now Interstellar.

And with this HZ in his house reading us:

nice!

and it has the docking cue already included…

Yeah, I believe it’s missing the organ and also some vocals which come after the organ plays. Instead they added those horrible sampled strings and brass.

Compare that with how the organ in particular in this newly released cue sounds.

Compare that with how the organ in particular in this newly released cue sounds.

Another one here, better crappy quality – Interstellar Soundtrack – Docking (High Audio Quality) – Interstellar OST – YouTube (http://www.youtube.com/watch?v=bYa5luHb2DA)

You can definitely hear the difference

You can definitely hear the difference
That quality actually sounds really great, at least on my speakers it does. For a recording from watching the film, that’s really good imo.

Again, thank you so much, Clovie, for uploading the best cue from the movie. I’m ecstatic that I finally have a copy of it. 🙂

Thank you for interrupting my regularly scheduled program this evening (SoA binge) for this awesomely hilarious post. I am in stitches.

There’s an app called itms-scrubber available for both Mac and PC which will delete account info.

Download source: itms-scrubber (http://henrik08.wordpress.com/2011/04/29/how-to-easily-remove-your-personal-information-from-media-files-purchased-from-itunes/).

Download source: itms-scrubber (http://henrik08.wordpress.com/2011/04/29/how-to-easily-remove-your-personal-information-from-media-files-purchased-from-itunes/).

Thanks! I actually managed to eliminate them with foobar, without converting it or anything. Still, a program for this is appreaciated.

Make sure your import options for a CD are set to 256kbps M4A

Then

Right click, Create AAC version

It converts the already 256 m4a to 256 m4a.. The new file won’t have your iTunes Account info in the metadata

Thanks to Clovie for uploading it!
https://mega.co.nz/#!t8YWQApI!hYZhcmkogLHuR7k9e6wq1hfujrwFeMfrUDaS-rd8UX4

What a clusterfuck.

I assume First Step has the best spot at the end after, "Where We’re Going", yes?

btw, I think it sounds alright.

Thanks for the share Clovie!

That would be great, just like with the Inception soundtrack. The best AQ and surround as a nice extra.

Just a brief info behind these two tracks. They are encoded to be FLAC but do not piss on me for not being whatever whatever audio bits. I did borrow elements from the FLAC album but there are some pieces that are mp3. I also did NOT AIM for a film version here. I aimed for the emotions. These are certainly not perfect but they did the trick for me in enjoying what I felt in the theaters. So if you got any problems with the audio not being to your liking, well I’m not here to give you a bj on it. The one with the dialogue just has a brief few seconds of it towards the climax of the track, brings up those emotions pretty well for me anyways. Otherwise, enjoy.

(http://smg.photobucket.com/user/ariazi/media/noitsnecessaryalbum_zpsc4d4139f.png.html)

No, It’s Necessary [Cinematic Version w/ Dialogue] (https://mega.co.nz/#!DZ0HGJ4D!cZj2V3fFpIyQtdFjZKSdSBGbO83UK1vHXUkdS_C H04Q)

No, It’s Necessary [Cinematic Version] (https://mega.co.nz/#!WV1n3BYJ!YyHJmVS8YqD45Pfv1anh666rMxvXv14Ao8MMfMj 4U8Y)

We’d all be complaining if it were STRINGS in the film version and we got the version we heard in the film with the organ at full blast

I’ll get true FLAC up of the Deluxe 🙂

we get dissapointed if we dont get what we are supposed to get, music from the movie. (you, what you heard in the movie. the covers of all osts says music FROM the motion picture, not music similar to the motion picture score).
although i personally believe this is the track AS RECORDED, and was mixed up a bit in post production. for example, korobelniki in kick ass 2 has a male choir in it, but the track doesnt.
dissapointin? yes.

organ >> strings. you know, we don’t get to listen to organ music in such an epic manner many times, but we hear strings a lot. It’d be a lot better to have the organ version.

Really: too many editions, a score that releases weeks after the movie premiere, the missing docking scene, the release of the demo mockup version of the docking scene, another edition coming someday with a tracklist not yet known, angry fans putting oil on the fire, Z+ apps ….

I think for me personally this is the worst handled score release since I became a soundtrack fan in the 90’s

I got what I wanted, and im happy with that.
having said that, now i watched the docking sequence and yeah, its a pretty awesome and intense theme, and now i want it as i heard in the movie as well.

Just a brief info behind these two tracks. They are encoded to be FLAC but do not piss on me for not being whatever whatever audio bits. I did borrow elements from the FLAC album but there are some pieces that are mp3. I also did NOT AIM for a film version here. I aimed for the emotions. These are certainly not perfect but they did the trick for me in enjoying what I felt in the theaters. So if you got any problems with the audio not being to your liking, well I’m not here to give you a bj on it. The one with the dialogue just has a brief few seconds of it towards the climax of the track, brings up those emotions pretty well for me anyways. Otherwise, enjoy.

(http://smg.photobucket.com/user/ariazi/media/noitsnecessaryalbum_zpsc4d4139f.png.html)

No, It’s Necessary [Cinematic Version w/ Dialogue] (https://mega.co.nz/#!DZ0HGJ4D!cZj2V3fFpIyQtdFjZKSdSBGbO83UK1vHXUkdS_C H04Q)

No, It’s Necessary [Cinematic Version] (https://mega.co.nz/#!WV1n3BYJ!YyHJmVS8YqD45Pfv1anh666rMxvXv14Ao8MMfMj 4U8Y)

I don???t why you bother editing the tracks, but it doesn???t sound better than the released one, and what???s the point of upconverting, really.

Just leave it to the studios, and wait a month till the 28 track edition comes out.

Then

Right click, Create AAC version

It converts the already 256 m4a to 256 m4a.. The new file won’t have your iTunes Account info in the metadata

sacrifice quality to remove some embedded information, that can be removed without loosing quality by using a different tool?

great idea … NOT!!!

Soundcloud link (https://soundcloud.com/techtuts/interstellar-soundtrack-docking)

"No time for caution" needs about 35 seconds of the "Mountains" choir rising into the mix, starting at about 2m54s. Seems to be the difference from the film version.

…and here is a recreation of the audio engineer’s ‘mess’ (http://www.hans-zimmer.com/index.php?rub=disco&id=1256) –> "No time for caution (daypass mix)" (https://mega.co.nz/#!g8VyFBAA!SSQu4sBVzcCtHCgeIu9Z4W_RXogd2H7W3EzlYnW AXGQ)

Hybrid Soldier, an intermediary between the fans and Zimmer, confirmed this:

Actually I got it confirmed, the cue as you’re looking for it doesn’t really exist, it’s just post production mess in the hands of music editors & mixers (so obviously Mountains material used)…

Reminds me of First Flight from MOS, where the strings were put totally upfront in the mix…
Source:
Hans-Zimmer.com – Interstellar (http://www.hans-zimmer.com/index.php?rub=disco&id=1256)

Hybrid Soldier, an intermediary between the fans and Zimmer, confirmed this:

Source:
Hans-Zimmer.com – Interstellar (http://www.hans-zimmer.com/index.php?rub=disco&id=1256)

Well that sucks. Hollywood is a mess. The iconic music from one of the most spectacular scenes of the movie not being released in its movie form?! gg boys, we tried.

I just read over there that the cue in the filmversion is from the "Day One Dark" track, which was a exclusive movietickets.com gift.

Does someone got this track in its original quality (downloaded from movietickets and left untouched)?? Everything I find on the internet are just some messed up files.

EDIT: You still can get the Track from movietickets.com if your purchase a cinema ticket until 1st december!:
http://www.movietickets.com/movie/mid/159557/n/Interstellar

Did maybe someone not watch the movie yet and can purchase a ticket there? 😀

Edit2: Some nice guy already uploaded it here on ffshrine:
http://forums.ffshrine.org/f96/interstellar-day-one-dark-%5Bbonus-track%5D-original-181524/#post2805070

They overdubbed the "Mountains" choir in post. A recreation of the audio engineer’s ‘mess’ (http://www.hans-zimmer.com/index.php?rub=disco&id=1256) –> "No time for caution (daypass mix)" (https://mega.co.nz/#!g8VyFBAA!SSQu4sBVzcCtHCgeIu9Z4W_RXogd2H7W3EzlYnW AXGQ)

I guess the thinking was something like "No Time For Caution" was not intense enough on its own for the scene. So lets just edit in Mountains & mix that up a bit" & thanks for the second bit

The track we got is what Hans intended for the scene… it is what he sent the dub stage

I interviewed Joseph Trapanese for a school project back in May and this makes a lot more sense now

7. When scores are released, how come there are only select cues on the soundtracks and usually mixed differently than they are in the film?
There are many reasons which can explain this. The soundtrack may sometimes be closer to the composer’s intention. For both projects you have mentioned (‘Tron’ and ‘Oblivion’), the picture edit was continually changing (sometimes slight changes, other times whole scenes could be cut) after we produce the score. Because of this, we deliver music to the dub stage (where the sound is mixed for the film) in "stems" — this is a term we use for different layers of music. Strings will be one stem, brass another, synths perhaps will be made up of several stems (hi, low, pads, etc.). This is so the music can be adapted easily to any scene changes that may happen after we record and produce.

Also, the music mix may be adjusted to fit dialogue and sound effects, so the music mix you hear in the theater may be different than the one the composer intended. All of these things are fine by me however; the sound teams on these films are incredible professionals, they care about and respect our integrity, and I know the changes they are making will better the film.

Furthermore, there is a music editor at the dub stage whose sole purpose is to oversee the music’s placement in the film and handle any last minute music changes. My music editor is an incredible creative producer and can handle any changes necessary while respecting my intention. It is incredibly important for me to have someone I can trust at the dub stage, because often I cannot be in attendance for these very long sessions (often 2 to 6 weeks on a feature film).

Another thing to consider — our music mixes for film are in 5.1 (surround). The release must be mixed down to stereo, and we often handle these mixes differently than the theatrical mix. We may compress or EQ the mix differently so that the music will sound good on personal music systems. The theatrical mix is actually quite a different experience.

Scores are often over 100 minutes long. The physical CD can only hold 80 minutes of music so we have to curate the album experience. ‘Tron’ had about 100 minutes in the final score, ‘Oblivion’ about 110. For me, the soundtrack is a unique and distinguished compliment to the film. I put a lot of care into making the soundtrack a rewarding and enjoyable experience. On ‘Oblivion’ for instance, we spent one extra week on a special mix for the soundtrack only.

The track we got is what Hans intended for the scene… it is what he sent the dub stage

This is frequently the case for VFX movies with ever-changing heavy post. Learned this in 1980 when Williams’ SW:TESB came out on LP with noticeable edits trying to recreate what was in the final theatrical mix.

The track we got is what Hans intended for the scene… it is what he sent the dub stage

I interviewed Joseph Trapanese for a school project back in May and this makes a lot more sense now

Can you post the complete interview please? Is very interesting. Thanks for this!

Hybrid Soldier 2014-11-22 13:54:03
It’s not 100% the film version ? So what ?

It’s the track as written for the film, then what, the music mixer was asked to change a few things, lower some stems in favor of others, mute others ?

Honestly I’m tired of explaining this to you. It was the last time I pushed Hans to release anything. I’m usually mad at him for his OST "artistic choices", but this time he made a move, he got something out with Paramount & Warner in less than what, 3 days ? Next time you can all just go cry forever. Go wait for "complete scores" for years & years, that’s all you deserve…

I’m perfectly ok with the track, let me just go back listening to it ! 🙂

Hybrid Soldier 2014-11-22 14:44:36
Actually, who tells you the track actually exist as you want it to exist ?

The "choir" and the "extra organ" you are talking about is in Mountains. Who tells you the music mixer wasn’t forced to used that cue’s stems to incorporate it into No Time For Caution at the last minute ?

A good friend of mine was telling me a few days back that he actually thought the Docking cue in the film might was messy and could be some insert. Which would also explain why Hans didn’t want to incoporate it in the soundtrack in the first place. That thing might not even exist in this form in the final stereo mixes…

You have the track written, you’ll get nothing else, if you want choir or organ, listen to Mountains…

There were major complaints about the music and bass frequencies overwhelming the dialogue (especially in IMAX), and Nolan went on the record to defend it (http://www.hollywoodreporter.com/behind-screen/christopher-nolan-breaks-silence-interstellar-749465):

"I like to hear it out where people are going to see it, not just in the cocoon of the dub stage. That is something I have done for years, because everything we are doing is intended to communicate something to the audience."

So, whatever was done with the music scoring session stems, and overdubbing this and that, in the post production mixing phase…all under Nolan’s watch.

While this is still a controversy, requesting an isolated score track for the Blu-ray should settle everything.

This is the best of the many edits we’ve seen so far. Thanks for this!

Just whipped it together as a reference for the board, but glad you liked. Hans Zimmer’s 2014 Oscar submission CDs may have the real deal. If not, hopefully the 2CD star projection edition (http://www.myplaydirect.com/interstellar-soundtrack/interstellar-soundtrack-illuminated-star-projection-edition/details/33155828) will have better elements to use, because I’m not bothering with a proper remix of "No time for caution" until I have the Blu-ray audio as a guide.

Thanks!

did a little edit of the docking cue (with choir) :http://www.youtube.com/watch?v=1x52RuOosgU

<a href=”http://kickass.so/hans-zimmer-no-time-for-caution-docking-scene-from-interstellar-2014-single-t9892553.html”>

I hope you all like it.

…and here is a recreation of the audio engineer’s ‘mess’ (http://www.hans-zimmer.com/index.php?rub=disco&id=1256) –> "No time for caution (daypass mix)" (https://mega.co.nz/#!g8VyFBAA!SSQu4sBVzcCtHCgeIu9Z4W_RXogd2H7W3EzlYnW AXGQ)

Nice work, gotta a feeling it’s so close to the actual film mix. XD Thanks 🙂

Silly is redirecting people to your thread where you’re wrestling with a track, releasing version after version, where no one has a legitimate source guide track to compare it with. I appreciate the commitment, but you’re currently at version 3.5, FFS.

update: Interstellar’s FYC is online (http://www.paramountguilds.com/interstellar/score/). "No time for caution" (FYC track 28) still not the film mix.

It’s cool that you’re proud of that, but that’s pretty impolite to daypass (and a little arrogant).

Beyond being quieter than the commercial digital release, Zimmer’s FYC track 28 (http://www.paramountguilds.com/interstellar/score/) is identical to deluxe edition track 22 (http://www.qobuz.com/fr-fr/album/interstellar-original-motion-picture-soundtrack-deluxe-version-hans-zimmer/0794043183058). Still no ‘Mountains’ choir.

The organ seems a bit more present in the FYC, but then the FYC track isn’t compressed/boosted for release on iTunes, Amazon, qobuz, etc.

but calling each other silly… is silly.

you guys are all showing the typical fanboyism in others that you found yourselves, in such little doses as if it were sneezed upon you.

It’s not like daypass created his own thread.

i should report to the mods to merge all fanedited content into one thread and that’d shut everyone up about defining arrogence and silliness.

honestly.

At least have the insight to realize that you just offered absolutely nothing of value to this thread, or what we are trying to discuss about this particular track, and jumped into a valid discussion to soapbox and moan about others.

This thread already looks like it’s got a close community of its own. You guys look serious jack asses in this thread.

This thread already looks like it’s got a close community of its own. You guys look serious jack asses in this thread.

Psychological projection (http://en.wikipedia.org/wiki/Psychological_projection)

You jumped into this thread yourself to soapbox and troll with nothing to offer. Are you mature enough to stop?

:/ Apparently the one who preaches cannot yield his own advice.
Sounds like Christianity.

I just don’t see why there can’t be multiple versions of stuff without you guys turning on each other. Talk about mature.

:/ Apparently the one who preaches cannot yield his own advice. Sounds like Christianity. I just don’t see why there can’t be multiple versions of stuff without you guys turning on each other. Talk about mature.

There’s my answer…and the 17,000+ post count of a troll who speaks much and offers little. The discussions in this thread were civil until you initiated this by turning on us with your soap-boxing and moaning and zero to offer on the subject of this track.

Moving along now….keep dangling your little hook.

FYC track 28 is definitely the closest to the source so far, it being untouched. MP3 tags show it as scoring session 06M26. Too bad it’s lossy 192kbps. Hopefully a legit FYC CD-R will leak.

update: The FYC tracks total 118m45s, so if this does leak expect two discs.

track | title | session | time
01 | Dreaming of the crash | 01M1 | 3:44
02 | Chasing drone | 01M2 | 2:07
03 | Flying drone | 01M3 | 1:54
04 | Combines went haywire | 01M4 | 1:54
05 | Dust storm | 01M5 | 1:14
06 | Decoding the message | 02M6 | 5:42
07 | Who’s they? | 02M7 | 7:18
08 | Stay | 02M8 | 5:33
09 | Docking | 03M9 | 1:29
10 | Entering endurance | 03M10 | 2:40
11 | Rage against the dying of the light | 03M11 | 0:57
12 | Down for the long nap | 03M12 | 0:58
13 | Message from home | 03M13 | 1:46
14 | Through the wormhole | 03M14 | 1:44
15 | We’re here | 03M15 | 0:43
16 | Atmospheric entry | 04M16A | 2:46
17 | They’re not mountains | 04M16B | 3:44
18 | Years of messages | 04M17 | 5:26
19 | Afraid of time | 04M18 | 2:33
20 | Murph comes home | 05M19 | 1:44
21 | No need to come back | 05M20 | 4:36
22 | Our World | 05M21 | 3:57
23 | We are the future | 05M22A | 3:29
24 | We’re running out of time | 05M22B | 1:54
25 | I’m going home | 05M23 | 5:44
26 | Coward | 06M24 | 8:33
27 | Imperfect contact | 06M25 | 6:58
28 | No time for caution | 06M26 | 4:06
29 | Detach | 07M27 | 6:43
30 | Eject | 07M28 | 2:14
31 | Landing in tesseract | 07M29 | 4:42
32 | S.T.A.Y. | 07M30 | 6:20
33 | Quantifiable connection | 08M31 | 3:30

Yeah absolutely. Not much point adding those organ hits or choir until a better quality track rolls around.

Frankly it’s still terrible — it’s missing vocals, mastering/dynamics, the organ sound that you DO hear is weak, cheap/free/thin organ samples and it comes in only for a few seconds at the end.

And thanks to a generous source, I am now actually working with real FLAC/Lossless sources of Day One Dark Suite and No Time For Caution and using Vocals from the FLAC version of Mountains. I also have several of Hans Zimmer’s Zebra presets which he actually by coincidence uses in this track for some parts near the beginning, which allows me to boost the volume of those particular stems.

TylerakaSyn may have the real deal; though I wouldn’t be surprised if "Day one dark" ended up on the 2CD star projection edition.

Oddly, in Tau analyzer, burning the original "Day one dark" MP3 falsely reported for me as CDDA, repeatedly.

Also, it’s easy to artificially boost the high frequencies of an MP3 to 22kHz, then convert it to WAVE/FLAC, so that it falsely reports as lossless in spectrum analysis. FYI, beware of this for private trades.

Also, it’s easy to artificially boost the high frequencies of an MP3 to 22kHz, then convert it to WAVE/FLAC, so that it falsely reports as lossless in spectrum analysis. FYI, beware of this for private trades.

I believe TAU Analyzer is what that other "audiotester" program is based off of (the one most people avoid using and the ones Russian trackers love using).
Same code, just modified.

With MP3 technology advancing over the years, it’s not surprising you can easily trick analyzers like that.
Why I stopped using them for anything.

Yeah it could certainly be better. But it’s still closest to what was heard in the film IMO – being taken from the official Paramount site, i’d say those ‘cheap/free organ samples’ were likely the ones we heard in the film, although in the final mix there was definitely a real organ in there too. Are you going to record a real organ….?

I would suggest waiting for a lossless version of FYC track 28 to land and working from that, but you may be inclined to disagree as you have put a lot of time into your version.

Still waiting for a track list on the 2CD star projector edition (http://www.watertower-music.com/releases_spotlight.php?search=WTM39546_interstella r).

————–

The wait is over. CD2 track list as per Amazon UK (http://www.amazon.co.uk/dp/tracks/B00QHQ59QQ/ref=dp_tracks_all_1).

The making of soundtrack..
http://youtu.be/L_8t2VlwK4w

Sound Effects and Sound Mixing by the brilliant Richard King http://youtu.be/ye6ydvFQhRw

1. First step
2. Flying drone
3. Atmospheric entry
4. No need to come back
5. Imperfect lock
6. What happens now?
7. Who’s they?**
8. Murph*
9. Organ variation*
10. Tick-tock*
11. Day one (original demo)*
12. Do not go gentle into that good night

* = new tracks, ** = FYC track

Disc one is the single disc commercial release.

The making of soundtrack..
Hans Zimmer – making of INTERSTELLAR Soundtrack – YouTube (http://youtu.be/L_8t2VlwK4w)

Sound Effects and Sound Mixing by the brilliant Richard King http://youtu.be/ye6ydvFQhRw

Brilliant? I think his team nearly fucked it up:
What’s up with this spike at around 15.7kHz on the interstellar soundtrack? Only some tracks have it but damn does it hurt my ears :/. : audioengineering (http://www.reddit.com/r/audioengineering/comments/2mszh4/whats_up_with_this_spike_at_around_157khz_on_the/)
on most of the songs.

Not really professional I think!

Not really professional I think!

Wow, yes, if you amplify and boost the treble up on a track like "Mountains" from 1m to 1m30s you can hear it there. It’s official: this score is CURSED.

Just whipped it together as a reference for the board, but glad you liked. I’m not bothering with a proper remix of "No time for caution" until I have the Blu-ray audio as a guide.

As promised, the ‘Interstellar’ deluxe edition freebie "No time for caution" in lossless HD. Just a matter of mixing the BD audio with the Quobuz 24-bit file to get all the SFX out, so all elements HD. Includes FLAC 24-bit, FLAC & lossy 320.

Enjoy (https://mega.co.nz/#!xwNxRabR!SU_xiM2GfOHYV7ZbSvDJJN2PUzpvfqsI1ntZbbx TauI).

password: HD

Unless something better comes out in a 7.1 or Atmos mix, this is it.

Is this one any different than the deluxe over at HDTracks in 24/44.1 ?

Tylerakasyn is also working on several tracks for a clean edit.
NTFC is looking really good.
I provided him with a bit-perfect BD rip.

Unless something better comes out in a 7.1 or Atmos mix, this is it.

Never happen. Nolan works in 5.1 only. He doesn’t believe in 7.1 audio or even 3D video.
Thankfully, he doesn’t believe in 6.1 or other audio oddities, as well.

Dolby Atmos works in 7.1 audio, so to get even an Atmos upgrade, they would have to re-create the entire film.
Extra work for the audio staff to create the dynamic back channel sound.

For home consumers, blu-ray Atmos needs to decode as regular True 7.1 if Atmos is not readable through Dolby Atmos-enabled receivers.

Even when the new 4K Blurays show up at the end of the year, a re-release of Interstellar on the 4K BD’s won’t mean anything for audio.
The audio specs are still the same for 4K BD’s so we won’t get anything higher than 24 bit / 48 kHz.
The video, however, will get remastered to 4K (supercedes 1080p), HEVC/H265 (supercedes AVC/H264), and 10bit video (supercedes 8bit video).

"daypass HD mix" what is this "mix" ?
Can’t find anything with google.

I like how he’s practical like that. Even if a 7.1 mix is done properly, what more can it add to the "surround" experience? Very little, I think.

I can’t understand the practicality of a 6.1 mix either. If you want another channel in the back, why not mix the audio element in both rear channels instead of nonsensically adding a channel? I guess it’s more subtle to include a mono rear element in a single channel, but still…

The video, however, will get remastered to 4K (supercedes 1080p), HEVC/H265 (supercedes AVC/H264), and 10bit video (supercedes 8bit video).

Why "remastered"? Wouldn’t the studio have "Super HD" copies on hand?

Marketing-wise, the re-release on the 4KBD would be called "remastered", as it’s a new transfer for home consumers (compared to the BD that just got released).

———- Post added at 04:50 PM ———- Previous post was at 04:25 PM ———-

TylerakaSyn just posted an update on NTFC edit.
http://forums.ffshrine.org/f92/hans-zimmer-interstellar-no-time-caution-film-182340/4.html#post2924602

Yeah, this HD mix is from that and the Qobuz HD. Only L+R front were usable since L+R rear were cranked with SFX. However, it was pretty straightforward to knock out the remaining SFX and required very little tweaking overall.

I brought up the 7.1/Atmos possibility since Warner has re-released "Gravity" as "Diamond Luxe" BRDs (http://www.amazon.com/dp/B00PGHUJOO/) with the Atmos mix, but then "Gravity" had a theatrical 7.1/Atmos mix and Warner/Paramount’s "Interstellar" didn’t.

Is this one any different than the deluxe over at HDTracks in 24/44.1 ?

Tylerakasyn is also working on several tracks for a clean edit.
NTFC is looking really good.
I provided him with a bit-perfect BD rip.

How many mixes of NTFC is he at now? I lost track.

Still didn’t answer what the difference between the Qobuz HD and the HDTracks deluxe is.

What I have here as sourced from Qobuz is 44100 Hz/24-bit so….nothing?

:erm:

Still didn’t answer what the difference between the Qobuz HD and the HDTracks deluxe is.

:erm:Last edited by TheSparktank™ 2.1; Today at 10:38 PM. Reason: 🙁 I was hoping for something like an unreleased demo.

You were expecting an unreleased demo from Qobuz, and Googling around for a daypass mix when that’s my handle here? O-kaayyy.

Enjoy (https://mega.co.nz/#!xwNxRabR!SU_xiM2GfOHYV7ZbSvDJJN2PUzpvfqsI1ntZbbx TauI).

password: HD

Unless something better comes out in a 7.1 or Atmos mix, this is it.

It’s essentially sfx free, but the flow between the organ stem and the "itunes version" strings replacement stem (probably to clean up the SFX) unfortunately break the immersion, because you grow to expect the next organ hit and sometimes it’s not there.

Works great otherwise.

You’re expecting it since you’ve dissected it to infinity and beyond.

Works great otherwise.

All the pipe organ hits are there, but there’s one around 2:40 that requires another editing/mix layer to fully extend, and a few others that had to be slightly trimmed. So, you have to decide, "Do I start leaving more fingerprints on this element, which is already a post production tweak, as it’s starting off? What’s more faithful…the source BD mix, or me trying to fake it with more edits? It already sounded like Zimmer’s track with "Mountains" choir and pipe organ stems added on for the actual movie….can I ever undo it?"

As you’re editing/mixing, you’ll see how the BD’s music mix starts changing volume to make room for more docking SFX, while the pipe organ really gets going, and then it gets somewhat tricky in making the edits seamless while sustaining the overall rising intensity, which is what that track is about.

If you can make the perfect NTFC film mix, the more the merrier! My one early ‘demo’ and the ‘HD mix’ is it for me. I’m satisfied having something 90% faithful to the source until the real deal leaks, if ever. I’m done.