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EVEN IF YOU ARE RE-ÍSSUE PRODUCER YOU DO NOT HAVE THE RIGHT TO DO IT Whoever puts down the dough (of producing a CD) has the right. Those are the rules. :-)
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No they DO NOT HAVE THE RIGHTS - only a fool would says such a thing Might is right! Only a fool would try to resist the cross fade!
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MOONRAKER is a good example of excellent cue combos esp " Corrine Death" / Centrifuge"
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They shouldn't be on the album if they wasn't [sic] recorded that way. The album is not the film score. Pretty thin distinction there, amigo. Thanks for the [sic], by the way. Didn't even notice it when I wrote it. And like I said, at home the listener can combine cues however they like. If they came connected, you can't undo it. And there you have "today." The listener is the listener, not the producer of the album. Yes, NOW listeners can do any damn thing they want, but you don't control the producer of the album, who may, you know, have some musical taste and want to present a wonderful listening experience, which is what ALBUMS are about. If I need to combine five twenty-second cues and they make musical sense, I do it, period. But I'm very sensitive to that stuff musically and it has to work and make sense and I don't do crossfades at all. Most of the time, you wouldn't be able to even tell unless you had your video there watching every second to make sure we gave you something exactly as it was in the film, even though we all know what was recorded is occasionally not what is in the film.
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When I am elected dictator , the first groups into concentration camps: cross-fade crazies Every Cue Separatists terrorists, mobsters, bank robbers
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Posted: |
Oct 3, 2019 - 6:49 PM
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By: |
Octoberman
(Member)
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And there you have "today." The listener is the listener, not the producer of the album. Yes, NOW listeners can do any damn thing they want, but you don't control the producer of the album, who may, you know, have some musical taste and want to present a wonderful listening experience, which is what ALBUMS are about. If I need to combine five twenty-second cues and they make musical sense, I do it, period. But I'm very sensitive to that stuff musically and it has to work and make sense and I don't do crossfades at all. Most of the time, you wouldn't be able to even tell unless you had your video there watching every second to make sure we gave you something exactly as it was in the film, even though we all know what was recorded is occasionally not what is in the film. All good points, but all subjective. What is a wonderful listening experience to a producer may not be thus for the person that paid for that product. But I will say that I like very much that you say you are sensitive to the issue and you take an artistic approach. The same cannot necessarily be said for all the producers out there. (Also, for a lot of us film fans, we can and often do know every second of a score's fit in a film.)
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On a somewhat related note... There has been a trend lately to releasing expanded editions of scores in which the original album presentation is included as supplementary material. I think this is a fabulous thing and I hope it continues. It may increase the price point a bit but it's like having the best of both worlds. I'd still rather put the first group in prison
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I don't do crossfades at all. Why not? They can work very well if the producer has ears and taste. Well, why? Why do a crossfade. Explain to me what is gained. One cue ends naturally, the next begins naturally - what you do is keep the room ambience consistent, and as long as the combined cues make musical sense, it's very natural. I don't find crossfading natural at all, that is, if you understand what a crossfade actually is and does.
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Posted: |
Oct 3, 2019 - 9:45 PM
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By: |
OnyaBirri
(Member)
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I don't do crossfades at all. Why not? They can work very well if the producer has ears and taste. Well, why? Why do a crossfade. Explain to me what is gained. One cue ends naturally, the next begins naturally - what you do is keep the room ambience consistent, and as long as the combined cues make musical sense, it's very natural. I don't find crossfading natural at all, that is, if you understand what a crossfade actually is and does. I don't like it when producers allow the final notes of a bunch of short cues to slowly decay into an inaudible nothingness. It slows down the momentum. It's like being in bumper-to-bumper traffic. I tightened up the film versions of Last Tango, Chinatown, and several Joel McNeely Herrmanns, and I like my versions much better than the released versions.
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