I wonder why they chose to use the synth for the full score on disc 1? I'm still waiting for my copy so I haven't read the liner notes yet to see if there was a reason.
I have to say the album as a whole sounds absolutely tremendous. The score presentation on disc 1 has a very different mix to the original CD.
Curiously, there is mention in the liner notes of a "theremin-like sound" in the "Area 52" cue along with the other beeps and whistles that are now very clear. No mention of a female vocalist.
Sounds like despite the change to synth instead of vocal, disc 1 is nice and clear. Is the mix just different, or better than the original album?
The original release of Looney Tunes album is great. I don't think this new edition will beat the listening experience of the original album but more Jerry is always great. Great to hear more John Debney too!
Mine shipped a couple days ago. I must admit to never hearing the score before I listened to it on Spotify (the original release) after ordering the Varese expanded. What a terrific score!
Now I really cannot wait until the new recording arrives!
Got my set today. Looking forward to listening to it. Noticed the sets says limited 2500 copies while website says 2000 copies. Hmmm.... Reached out to Varese to verify correct amount.
Great release. Some audio oddities throughout - some cues don’t sound right. Also the big one - Area 52, what happened to that theramin style sound (was it a human voice) It sounds like demo synth for want of a better description.. Did it sound that way in the movie? Not a problem as the album version is on disc 2, but it really stood out.
URGH. I hope this doesn't turn out to be another Air Force One.... Mine shipped today.
That is because we have found better masters with each release we work on. The AFO was a strange situation where the assets were what they were.
Great release. Some audio oddities throughout - some cues don’t sound right. Also the big one - Area 52, what happened to that theramin style sound (was it a human voice) It sounds like demo synth for want of a better description.. Did it sound that way in the movie? Not a problem as the album version is on disc 2, but it really stood out.
URGH. I hope this doesn't turn out to be another Air Force One.... Mine shipped today.
That is because we have found better masters with each release we work on. The AFO was a strange situation where the assets were what they were.
Thanks for the info Byron. So this means that the better masters inevitably will sound different than the previous ones on the original soundtrack albums? Or is it mainly a difference in mixes?
from second 52 -55 , i have no sound , a general glitch or only mine ?
It happens on mine as well - might be a glitch, but not really sure as it almost sounds as if it's supposed to be that way. Listened to Disc 2, track 30 and it plays through at the same spot with sound, so I'm a bit baffled.
I'm pretty sure he used theremin for the cue "The Latest Victim" from THE MEPHISTO WALTZ. It can be heard voicing the main theme, doubled with echoplexed piano.
I haven't heard the score in years, but I think I remember him mentioning using theremin in SHOCK TREATMENT.
I'd completely missed this response to my question about whether or not Goldsmith had ever used a theremin. Thank you, William. Yes, the theremin is in "The Latest Victim" from "The Mephisto Waltz" and it's used wonderfully. It begins at around 3:08:
The theremin portion of the cue reminds me a lot of Harry Lubin's use of it in the second season of "The Outer Limits." Very "supernatural"-sounding. What a fascinating cue, from a truly fascinating score. It also goes wonderfully with the film, as I recall - Goldsmith's spotting was second-to-none.
While I really liked Goldsmith's "Shock Treatment," I also haven't listened to it in years, probably not since the Intrada first came out (nearly eight years, jeez) but I've actually thought about it recently and have been meaning to listen to it again. I'll do that soon.
from second 52 -55 , i have no sound , a general glitch or only mine ?
It happens on mine as well - might be a glitch, but not really sure as it almost sounds as if it's supposed to be that way. Listened to Disc 2, track 30 and it plays through at the same spot with sound, so I'm a bit baffled.
It does sound like the drummer stops on the beat and then slowly, quietly starts playing again. Very strange...
disc 1. track 24: hot pursuit...from second 52 -55
On the sessions, this track plays continuously, on beat, with no dropout. That's disc 2, track 30. In the film, there is a music edit (most audible in the bass) at 50:00;21, where a brief, dramatic swell overlay was seemingly added in post at ~50:02;23. The sound of Hot Pursuit is audible up to 50:06;00, dropping during the overlay, then there is a pause until 50:11;11, when the Hot Pursuit music comes back with an acute fade up into a bass note. It's a pause for effect created in the edit.
Since the music editor probably didn't say, "Bobby, run this music snippet down to the archives and tell 'em to store it with the Looney Tunes score," it probably wasn't available for this presentation. The more I look at this track, the more it seems like it may have been the best available way to for the film score presentation to handle a weird situation created in post.
disc 1. track 24: hot pursuit...from second 52 -55
On the sessions, this track plays continuously, on beat, with no dropout. That's disc 2, track 30. In the film, there is a music edit (most audible in the bass) at 50:00;21, where a brief, dramatic swell overlay was seemingly added in post at ~50:02;23. The sound of Hot Pursuit is audible up to 50:06;00, dropping during the overlay, then there is a pause until 50:11;11, when the Hot Pursuit music comes back with an acute fade up into a bass note. It's a pause for effect created in the edit.
Since the music editor probably didn't say, "Bobby, run this music snippet down to the archives and tell 'em to store it with the Looney Tunes score," it probably wasn't available for this presentation. The more I look at this track, the more it seems like it may have been the best available way to for the film score presentation to handle a weird situation created in post.
It should've been in the bonus section. I'll never understand why some album producers want to include the film mix of a cue in the main body of the score when it was created editorially.
It should've been in the bonus section. I'll never understand why some album producers want to include the film mix of a cue in the main body of the score when it was created editorially.
The common sense part of me agrees with you 100%. Listening to our soundtrack release producing people in interviews, I am increasingly on the side of giving them the benefit of the doubt that they also have this musical common sensibility, but for one peculiar legal or licencing reason or another, were not allowed to go by that common sense in a given circumstance.
I'm pleased that we actually have Area 52 and Hot Pursuit on disc 2, and we can rearrange the tracks just as we like, regardless of what impositions may have been imposed upon Varese.
It's like they said, "I'm not allowed to unlock that door for you," then dropped their keys on the floor for us as they walked out.
Great release. Some audio oddities throughout - some cues don’t sound right. Also the big one - Area 52, what happened to that theramin style sound (was it a human voice) It sounds like demo synth for want of a better description.. Did it sound that way in the movie? Not a problem as the album version is on disc 2, but it really stood out.
URGH. I hope this doesn't turn out to be another Air Force One.... Mine shipped today.
That is because we have found better masters with each release we work on. The AFO was a strange situation where the assets were what they were.
Thanks for the info Byron. So this means that the better masters inevitably will sound different than the previous ones on the original soundtrack albums? Or is it mainly a difference in mixes?
Sometimes. Many times we will be working with the film mix vs. whatever was used on a previous release. In the case of AFO we used many sources to piece together the soundtrack that some liked, others didn't. In this case, Yavar, Peter and others can attest as we worked real hard to ensure all music came from the same sources. Bruce had a lot of this material. I think this turned out nice. We tried to make sure to include as much interesting source cues along with film mix, original CD mix and alternates. This one is among the proudest releases I've worked on to date.