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| This is a comments thread about FSM CD: King Kong: The Deluxe Edition (2CD) |
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Great choice of cover. I have that poster on my wall next to my bed.
Oh man. I can't wait to hear the synth in the main titles finally sounding more clear.
Super stoked!!!! Wooooo!
Where did you get your poster - I want one!
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Does it mean this cd has stereo music or mono music?
It's stereo.
Neil
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I don't understand what it means "mixed and mastered from the 2" 24- and 16-track masters".
I'm not an expert, but I'll give it a shot. Experts, please correct me.
The scoring engineer used multiple microphones positioned throughout the room to capture the sound of the orchestra. These microphones were fed into a mixing console. The scoring engineer used the mixing console to possibly combine microphones and feed a tape recorder that could record 24 or 16 channels simultaneously. Each typical channel on the tape has sound which probably focuses on a smallish piece of the orchestra, such as woodwinds, pieces of the brass section, or parts of percussion.
I'm sure I'm oversimplifying this, but essentially FSM's mixing engineer was able set the volume and the position in the stereo field (left to right) for each of these channels on the tape. The end result is a very pleasing two-channel stereo mix that you can hear in the clips.
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Amazing! Ordered without a moments hesitation. But damn...making it hard to save up for that Star Trek set!!
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I don't understand what it means "mixed and mastered from the 2" 24- and 16-track masters".
This was already answered I know, but let me add some words here.
2" means two-inches — the tape it was recorded on was two inches wide.
24-track means that they recorded up to 24 separate elements simultaneously. Rather than recording the whole sound to just one or two tracks covering the whole orchestra, they put out multiple microphones, recorded them all simultaneously and retained up to 24 separate sound elements. So there might be one or two tracks for violins, a track for french horns, a track for piano, etc.
It basically means all the separate elements are retained as separate, so the music can be remixed and can be carefully re-balanced to create a stereo field. (As opposed to the mix and balance being fixed in stone forever.)
24-tracks also means there's less noticeable impact from dropouts.
In general. re-mixing and re-mastering from multi-track elements allows you to bring out the clarity in all the different sound elements. Which is something this score needed as the album master mix wasn't entirely brilliant and some sound elements could have done with being a bit more 'pristine clear'.
That's my non-technical reply.
In short, it avails much superior results to starting with a pre-mixed 2-track stereo master.
Cheers
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To know that FSM's John Barry's KING KONG double-disc score has gotten such acclaim on the boards here, within mere hours of its announcement, must bring so much elation to all involved. Like the many who've posted, I too was having a typically tough Monday, and couldn't believe it when I read in my inbox that here it was, at last. (I believe my first FSM cd ever, was their first version of it, which it seems like took months to reach me, given the nature of my busy schedule, and the fact that it was on backorder from another company. And yes, I even saw Kong's sequel, King Kong Lives, in theaters in 1986, and wondered why it didn't have Barry's great melodic touch?! Even though I think John Scott, who scored the sequel and did a good job with it, did an excellent job with GREYSTOKE a few years earlier! GREYSTOKE is another cry-for-help from fans who would love to hear the whole thing if it can be found someday.)
I've read others post on this board for years, but have never posted myself, nor signed up to do so. But when Barry's much-demanded 2-disc King Kong appeared in my inbox, my eyes choked with a grin of contentment; that FSM must be basking in with due reason. Nearly 2 decades ago, I came across FSM I believe in the back of a Premiere Magazine (sadly no longer with us), but I dialed them up, and they sent me a couple of free issues to suffice my new discovery. I felt like I was on the verge of something big, and major, and life-changing, and I was. Not quite realizing that the internet was right around the corner, and would connect us all together, if only to cuss and discuss what the other's tastes were and weren't, in the world of the soundtrack and score. And here we are, all these years later, with FSM having literally helped to usher in a new re-birth and re-appreciation for the re-discovery of grails long thought buried within the past and too aged to care about. But we DO care about them now, thanks in part to FSM.
Though I too am just as intrigued with what #250 will be(?), to me, it's been such a great year to have seen so many of my 20+mintues-of-score-LPs, get translated into 70+minute-bibles by FSM with the likes of Jerry Goldsmith's GREMLINS last year, and most recently, Barry's BODY HEAT. But to have Body Heat and King Kong back to back, to me, almost makes the necessity of the final release of #250, somewhat undeserving. Though I know I'll miss the fun of seeing everyone speculate on guesses, once it's arrived. Will it be the MIDNIGHT COWBOY so many have wanted with Thielemans' harmonica? Hermann's complete OBSESSION? A grand finale of Bernstein's TEN COMMANDMENTS which seems almost fitting? Or another Barry gem of an egg, HOWARD THE DUCK? How fun it has been to count down FSM's aim to deliver their legends to us, disc by disc.
(I, for one, would love an EVERY-CUE-CREATED-SCORE of Barry's SOMEWHERE IN TIME, as would a few others who've posted such a hope, but I'll settle for the fact that I now have 2 long-thought-unaccomplishable Barrys, back to back, parked near my old Somewhere In Time gold-disc, thanks to FSM.)
Not too many weeks ago, I saw an interview with Gene Kelly's relatives, and they were saying that shortly before his death, the only thing he asked of his family, was if they thought he had even made a mark with his life. My jaw dropped. Indeed, he made his mark, and so have all these wonderful releases with FSM. Hundreds of years from now I imagine their mark, especially with their 250, will be talked about as a wonderful turning-point for dusting off and uplifting that OTHER magical part to the movies; the score. I am proud to have been one of them. And though I'll have to save-up for Kong's new treatment (since I broke my wallet for Body Heat), I look forward to doing so, with pride at the work, that I'm certain went into it. Some people have a drink to unwind from their day ... I just read all these wonderful minds that gather together to serve as the Jedi council of the score world. How wonderful it must've been in January of 1938 to be in a record store and purchase Walt Disney's Snow White; the 1st-ever soundtrack. I'm certain there were those few, that thought Disney was crazy to think an audience would want to hear just the music, aside from the film, in their living-rooms, at their own convenience.
And here we are, decades later, so evolved on one hand, so longing to go back to what made us great on the other.
Some look at the world from a half-empty perspective, I look at it from a half-full one.
I thank FSM sincerely for helping to KEEP it full.
Hats off to FSM for not just going for their own idea of gold, but for apparently, listening to all these wonderful minds.
BarryHappy4U is BarryHappy4ALL ... WhoHaveWaitedAndWantedAndMadeItHappen!!!
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Kongratulations all round. You finally got your wish Stephen Woolston!
I do feel the film has been badly done by over the years. King Kong is supposed to be a fantasy. Merian Coopers original and this version capture that brilliantly. Jacksons later remake misses the fantasy element by trying to make the thing realistic! Steiner's original score is of course brilliant! One of a kind. However I do feel that in its own way Barry's score is in part equal to it in the fact that it raises the temperature of the erotic/romantic side of the story. As well as capturing the primitive aspects. Well done to all concerned and thanks JB another triumph.
Regards
CC
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Posted: |
Sep 27, 2012 - 3:17 PM
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By: |
book1245
(Member)
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I've only ever seen large chunks of the movie, never the whole thing.
The samples sound quite nice, and definitely something I feel I would enjoy so I'm going to take the word of people who have been waiting forever and order it.
A few weeks ago at Amoeba Music I found Beneath the Planet of the Apes. Knowing how rare it is, and knowing how much I've grown to enjoy Leonard Rosenman, I grabbed it, and am glad I did. Last night I finally saw Battle for the Planet of the Apes, the one Apes movie I've never seen.
With the rumors of King Kong Lives being released next week as well, I am going to get down to (monkey) business and order King Kong, King Kong Lives, Conquest of the Planet of the Apes/Battle for the Planet of the Apes, and Escape from the Planet of the Apes.
That's a whole lotta simian.
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I guess this cd compilation matches the theatrical version?
Does anyone know?
because there is a 3 hour TV version too!
The extended cut contains numerous additional scenes and shots. The music has also been drastically changed. Partly, scenes received a new score or the music had been rearranged to fit the respective prolonged scenes.
http://www.movie-censorship.com/report.php?ID=520761
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Hi KonstantinosZ,
Though someone far more in the know is likely to chime in here - I believe that the theatrical version is - more or less - what Barry scored, and so that's what's represented here.
In the case of the three hour TV version - I believe they used several of Barry's alternate cues for some of the new/extended scenes (which, in some cases - I'm sure the liner notes will elucidate when discussing those pieces - may have actually been written for the original, longer versions, of certain sequences), as well as re-tracking and editing certain other cues from the film, also creating artificial repeats and what-not to make it fit the new timings.
Needless to say, the music on this album is as Barry intended it to be performed and heard, and I'm very much looking forward to hearing it all. I run hot and cold on Barry's music sometimes, but there's no mistaking his compositions for anyone else's (which I love about them), and the 1976 "King Kong" may actually be my favorite version of the story - even with its few missteps. Go figure. The love theme also has a charming figure in it that reminds me of "The Broken Promised Land of Fifteen," which is perhaps my favorite song from his & Alan Lerner's "Lolita, My Love" score.
Hope this helps and at least partially answers your question!
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