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" Crossfades are the Devil's handiwork"
---'S. Rutherford
" We have to destroy Bulkenstein!"
- - M. Arcato
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New cell has opened up at Arkham.
Pack yer
bags Marco.
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Posted: |
Apr 21, 2019 - 11:31 AM
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By: |
Tom Servo
(Member)
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And i now have proof that it was not meant to be crossfaded
INTRO TO BUILDING PANIC does not mean that is has to be crossfaded/overlapped with A BUILDING PANIC
Why is it so fucked up hard to understand that crossfades ARE NOT WANTED
why is it so hard to place some empty space between cues
At the risk of flaring things up, why is it so hard for some to understand that there are those of us who simply DO NOT CARE ABOUT CROSS-FADES??? Some of us are just happy and content with having the expanded scores in the first place!
Exactly! It's still the same music. But even beyond that, as has been discussed many times over the years there are reasons aesthetic and practical for crossfading cues. In some instances, this is how the composer wanted the music presented, even if cues were recorded separately. Also, from a purely cost standpoint, the more tracks on your CD pressing, the more expensive it gets for the label, so if they can reduce the number of tracks then this helps keep costs down. And again, you're still getting the music, what does it matter!!!!
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At the risk of flaring things up, why is it so hard for some to understand that there are those of us who simply DO NOT CARE ABOUT CROSS-FADES??? Some of us are just happy and content with having the expanded scores in the first place!
CD defects
Shipment issues
Improper licensing
....
Stubbing my toe
US Marshals complete!!!!
Tracklists on CDs only
...
IRS audits
Oedipal nightmares
Being marooned in a desert
Rolling a fumble in a D20
Friends asking me to go with them to a desert
burnt toast
...
...
...
Crossfades
Finding out there's such a thing as hell
Yeah, that's where I'd put my priorities.
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Posted: |
Apr 21, 2019 - 11:51 AM
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By: |
Avatarded
(Member)
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Exactly! It's still the same music. But even beyond that, as has been discussed many times over the years there are reasons aesthetic and practical for crossfading cues. In some instances, this is how the composer wanted the music presented, even if cues were recorded separately. Also, from a purely cost standpoint, the more tracks on your CD pressing, the more expensive it gets for the label, so if they can reduce the number of tracks then this helps keep costs down. And again, you're still getting the music, what does it matter!!!!
The argument about crossfading is typically about the amount of actual overlap between cues, and getting a sense of the timing involved for flow. There could still be some silence between the cues and still have them crossfade.
When that doesn't happen and one cue is literally overlapping another, it's not surprising that people raise the issue. One example from TITANIC of an intended crossfade is "Post", however the piece of music it was intended to crossfade with isn't on the album: "My Heart Will Go On". Take the track from the original album and crossfade with 'Post' and it's perfectly seamless as long as the timing is right.
The same thing occurred with the song "All Love Can Be" and the end credits of "A BEAUTIFUL MIND". They're meant to crossfade and if you do, they indeed work well.
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U.S. Marshals - complete!
Seconded!
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And i now have proof that it was not meant to be crossfaded
INTRO TO BUILDING PANIC does not mean that is has to be crossfaded/overlapped with A BUILDING PANIC
Why is it so fucked up hard to understand that crossfades ARE NOT WANTED
why is it so hard to place some empty space between cues
At the risk of flaring things up, why is it so hard for some to understand that there are those of us who simply DO NOT CARE ABOUT CROSS-FADES??? Some of us are just happy and content with having the expanded scores in the first place!
Exactly! It's still the same music. But even beyond that, as has been discussed many times over the years there are reasons aesthetic and practical for crossfading cues. In some instances, this is how the composer wanted the music presented, even if cues were recorded separately. Also, from a purely cost standpoint, the more tracks on your CD pressing, the more expensive it gets for the label, so if they can reduce the number of tracks then this helps keep costs down. And again, you're still getting the music, what does it matter!!!!
This is a terrible argument. If a composer records a cue in sections, that completely makes sense to put them together. The issue with crossfades is when they’re done in a jarring, non-musical way by a producer with little to no ear. That’s all. Some do them well, others do not. Hell, even people we all like and respect have done it poorly (source cue crossfading with a score cue on The Ghost And The Darkness is one bonkers choice).
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U.S. Marshals - complete!
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Posted: |
Apr 21, 2019 - 10:43 PM
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By: |
Tom Servo
(Member)
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And i now have proof that it was not meant to be crossfaded
INTRO TO BUILDING PANIC does not mean that is has to be crossfaded/overlapped with A BUILDING PANIC
Why is it so fucked up hard to understand that crossfades ARE NOT WANTED
why is it so hard to place some empty space between cues
At the risk of flaring things up, why is it so hard for some to understand that there are those of us who simply DO NOT CARE ABOUT CROSS-FADES??? Some of us are just happy and content with having the expanded scores in the first place!
Exactly! It's still the same music. But even beyond that, as has been discussed many times over the years there are reasons aesthetic and practical for crossfading cues. In some instances, this is how the composer wanted the music presented, even if cues were recorded separately. Also, from a purely cost standpoint, the more tracks on your CD pressing, the more expensive it gets for the label, so if they can reduce the number of tracks then this helps keep costs down. And again, you're still getting the music, what does it matter!!!!
This is a terrible argument. If a composer records a cue in sections, that completely makes sense to put them together. The issue with crossfades is when they’re done in a jarring, non-musical way by a producer with little to no ear. That’s all. Some do them well, others do not. Hell, even people we all like and respect have done it poorly (source cue crossfading with a score cue on The Ghost And The Darkness is one bonkers choice).
Sure, of course there are some not so great choices made with crossfades on various score releases, but not those made by the LLL producers, whether Neil Bulk, Dan Goldwasser, MV and the gang. Their choices always make sense musically to me.
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They’ve gotten better with them, from the scores I’ve heard, but their problem crossfades are almost exclusively handled by one producer in particular. Whenever I hear something jarring on one of their albums, I usually know the name I’m going to see in the notes.
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Posted: |
Apr 22, 2019 - 7:20 PM
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By: |
Tom Servo
(Member)
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But not those made by the LLL producers, whether Neil Bulk, Dan Goldwasser, MV and the gang. Their choices always make sense musically to me.
You're forgetting The Sum Of All Fears. One of the most overly and inappropriately cross-faded albums of all time! It's dire and could so easily have been great, even with different cross-fades!
Well, your experience is different than mine, I thoroughly enjoyed LLL's presentation of The Sum Of All Fears, all the choices made make for powerful, musically well-rounded tracks adding up to a great listen overall. I actually hate short tracks under or around a minute, it makes for a jarring listen with all those breaks between these, especially if I'm simply shuffling tracks on my iPod or iPhone. Combining short cues into longer tracks is much appreciated.
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But not those made by the LLL producers, whether Neil Bulk, Dan Goldwasser, MV and the gang. Their choices always make sense musically to me.
You're forgetting The Sum Of All Fears. One of the most overly and inappropriately cross-faded albums of all time! It's dire and could so easily have been great, even with different cross-fades!
Well, your experience is different than mine, I thoroughly enjoyed LLL's presentation of The Sum Of All Fears, all the choices made make for powerful, musically well-rounded tracks adding up to a great listen overall. I actually hate short tracks under or around a minute, it makes for a jarring listen with all those breaks between these, especially if I'm simply shuffling tracks on my iPod or iPhone. Combining short cues into longer tracks is much appreciated.
Tom, I have no choice.
YOU
ARE
A
BOT
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