 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Aug 28, 2010 - 12:06 AM
|
|
|
|
By: |
.
(Member)
|
Can the old release be converted to the way it should sound, in a program like Audacity or Peak? Does anyone know what exactly has to be corrected? Sounds more than just a pitch adjustment.
Edit: Just found these old comments on Filmtracks:
One of the more controversial aspects of Incognito has been its album mix. On its 50-minute album, the music was given a very treble-heavy presentation, allowing the specialty instruments --especially the metallic ones-- to shine with great clarity. While this does add to the unique sound of the score (and the listener can amplify the bass to counter the album's presentation), it causes some elements to lose their natural tones (and sound tinny). The sax, for instance, can sometimes be confused with the sound of a harmonica. Ottman was not satisfied with this presentation, despite the clarity of the recording otherwise being nothing less than stunning, and when he discovered the original masters for the score within a few years, he allowed them to be used for three cues on the Cruel Intentions compilation album of his works three years later. There has been an indication that he would someday like to provide a more balanced mix of Incognito's entirety on album, and his fans would certainly welcome it. In the meantime, the original album for this score is still nothing less than a marvelous display of creativity.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Aug 28, 2010 - 2:32 AM
|
|
|
|
By: |
The Cat
(Member)
|
Staight from the horse's (Ottman's) mouth [excerpts from official website]:
When we began mixing the score at Blowtorch Flats (Basil Poledouris' studio) in Venice, we discovered a disastrous problem in the score. Static was popping up from track to track throughout. It was discovered to have been a Dolby card problem when the score was recorded. We began dodging and ducking static, until it was just not working anymore. We then sent mixed cues to a digital specialist to remove the static. Unfortunately, frequency ranges were removed as well. It was heartbreaking. The mix dragged on as I was being sent dailies to Apt Pupil, which didn't exactly relax me. Finally, we found a new digital technique to remove the elusive pops and crackles without sacrificing fidelity. It was mastered a little more brightly than I wanted (which will always disturb me), but in the end the score was saved. Then the movie went straight to video. Actually it's on DVD now as well with John Badham, the writer and me blabbing away on the alternate track. I have no idea if I sound like an idiot or not.
--------------------
In preparing the Cruel Intentions album, I discovered a digital audio tape of my original mastered mixes for Incognito. When I heard the tape, I was excited to hear that these were the way I had intended the soundtrack album to sound. We had some pops and crackles throughout the recording of Incognito from a defective Dolby card in our control room. This is why, prior to the album's mastering, that the cues were passed through a sonic filtering device to remove these glitches. The frequency range was compromised from the original recording and then brightened. But the tape I discovered was the original mastered recording prior to this filtering process, and the sound is beautiful. Who cares about a subtle pop here and there. I'd rather hear the pure recording as I remembered.
So this Cruel Intention CD contains three cues from Incognito which have been resurrected from the original mastered tapes of the score. It is the only available way to hear these cues as I originally intended them to sound on the album. I would love to release a new CD of the entire score with the original mastering. But at least you get to hear three cues for now!
|
|
|
|
|
|
|
This is by far his best score.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Aug 28, 2010 - 9:07 AM
|
|
|
|
By: |
T.J. Turner
(Member)
|
Staight from the horse's (Ottman's) mouth [excerpts from official website]:
When we began mixing the score at Blowtorch Flats (Basil Poledouris' studio) in Venice, we discovered a disastrous problem in the score. Static was popping up from track to track throughout. It was discovered to have been a Dolby card problem when the score was recorded. We began dodging and ducking static, until it was just not working anymore. We then sent mixed cues to a digital specialist to remove the static. Unfortunately, frequency ranges were removed as well. It was heartbreaking. The mix dragged on as I was being sent dailies to Apt Pupil, which didn't exactly relax me. Finally, we found a new digital technique to remove the elusive pops and crackles without sacrificing fidelity. It was mastered a little more brightly than I wanted (which will always disturb me), but in the end the score was saved. Then the movie went straight to video. Actually it's on DVD now as well with John Badham, the writer and me blabbing away on the alternate track. I have no idea if I sound like an idiot or not.
--------------------
In preparing the Cruel Intentions album, I discovered a digital audio tape of my original mastered mixes for Incognito. When I heard the tape, I was excited to hear that these were the way I had intended the soundtrack album to sound. We had some pops and crackles throughout the recording of Incognito from a defective Dolby card in our control room. This is why, prior to the album's mastering, that the cues were passed through a sonic filtering device to remove these glitches. The frequency range was compromised from the original recording and then brightened. But the tape I discovered was the original mastered recording prior to this filtering process, and the sound is beautiful. Who cares about a subtle pop here and there. I'd rather hear the pure recording as I remembered.
So this Cruel Intention CD contains three cues from Incognito which have been resurrected from the original mastered tapes of the score. It is the only available way to hear these cues as I originally intended them to sound on the album. I would love to release a new CD of the entire score with the original mastering. But at least you get to hear three cues for now!
So basically, even if the original masters were released, they'd still have the static! Thats terrible.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
He made the Lois Lane theme sound less 1970s...
Yeah, that full orchestral sound of the 1970's, what a bunch of shit that was!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
