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Any time
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So I guess this will be a MAF? That means order Jaws 2 first then order this one.
Yes, but MAF is now called INT.
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What was the harmonica/guitar campfire music at the very beginning of the movie? Were they just riffing in that scene?
Oh, and needless to say: ordered.
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I think it's actually 9,999* (I seem to recall reading that here some time back).
MAF releases were supposed to be "unlimited", but that's ended and MAF titles have gone out of print as of late (I don't know the exact number). Suffice to say, if anybody has been putting off a title under the defunct MAF line because they thought it would be around a good long while, perhaps its best to treat it as if it were going to go bye-bye any month now (just to be sure).
* = What I don't know, regardless if it's 9,999 or 10,000, is if that's per label release or just for a title; say a label released "Jaws 19" and sold 10,000 copies, could then another label re-issue that same title and sell another 10,000?
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This is purely administrative. The tracks you listed already exist in the UME database as "song titles" for an album called Jaws. Therefore the exact titles can't be used again unless the content is exactly the same.* So rather than invent new titles, we apply parentheticals such as "Film Version" and "Extended Version" or "Alternate," whichever is the most appropriate. On the Decca release, "The Empty Raft" didn't have the ending phrase, while both "Father And Son" and "Out To Sea" segued into other cues. We've employed this methodology on Empire of the Sun and A.I. and are continuing with it going forward even though things have been done differently (and sometimes haphazardly) in the past.
(* If a track is just remastered but the content is the same, then the same title can be retained.)
And there are occasional exceptions, of course. We could have retained the title "Shark Attack" for "Quint Meets His End" but reverted to the original cue title because the score is now in film order and because we had an alternate. Plus the cue title was also used on the Varese rerecording.
Mike M.
Any particular reason you didn't use the original cue title "Work Montage" for "The Shark Cage Fugue"?
I was just wondering because ALL the other tracks retain the original cue title (apart from "Father and Son" which is 4M1R Alternate version - I'm not sure how the original was named - so of course it wouldn't sound good to name it that way)
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Posted: |
Nov 18, 2015 - 10:30 AM
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By: |
Matt S.
(Member)
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* = What I don't know, regardless if it's 9,999 or 10,000, is if that's per label release or just for a title; say a label released "Jaws 19" and sold 10,000 copies, could then another label re-issue that same title and sell another 10,000?
I think the 10,000 limit is per license. Isn't that what happened with Back to the Future's original 2-CD release? I'm pretty sure Roger or Doug said they sold the full 10,000, so they must have purchased a new license for their new single CD version.
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The reverb was part of the process of making a 5.1 mix out of an odd and unbalanced element that has a huge amount of tape hiss. It did not do the music or the movie a service, in my opinion.
Re: "The Shark Cage Fugue" -- there's another case where a decision had to be made about a track title. We could have used "Work Montage," but John Williams asked to keep the previously published title because it tells you that this is a cue on which his concert suite was based. It was also because we already have a track called "Montage" and because, unlike the generic "Shark Attack," it's clear what scene it goes with.
Correct on the 10,000 issue as well. If Intrada reissued the 2-CD Back to the Future then they'd have to retroactively pay a different tier of reuse for the FIRST 10,000 that they already sold.
Mike M.
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It was all about John Williams approving it, so I carefully finessed it and tried to find the best compromise for everyone and it took a lot of work and several passes to get there. Doug was very happy with the result and doesn't feel I got rid of any hiss more than was necessary. In my tech notes for the release I describe dealing with hiss as a tightrope walk, with distraction on one side and destruction on the other.
Mike M.
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