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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
Make sure there is room in there for Trekkies.
It's the only way to punish then AND still keep them safe from The Wrath Of Thor.
Trekkies don't get to live.
Sorry.
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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.
But you like when the music is ending and then the start of the incoming cue plays over that? Bully for you. I don't know what other producers do - I'm speaking for myself. When I combine cues no one knows it because Mr. James Nelson is rather artful about it.
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Trekkies don't get to live.
Sorry.
YOU ARE NOT OF THE BODY!
Only fans of TOS get to live.
TNGers are toast.
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But you like when the music is ending and then the start of the incoming cue plays over that? Bully for you. I don't know what other producers do - I'm speaking for myself. When I combine cues no one knows it because Mr. James Nelson is rather artful about it.
That depends on lots of factors, including the length of the crossfade, the keys of the tracks in question, and the instrumentation.
On "Charade," I have the opening percussion of the main title start with the final chord of the logo. There is no harmonic clash, and the final chord of the logo is out before the melody of the main title comes in. That would be an extreme example of a longer crossfade, but it works very well for me.
Many of the other crossfades I do are extremely short - fractions of a second - but they nevertheless help to provide continuity.
What drives me crazy is when several seconds of silence are embedded into the ends of very short tracks, thus slowing down the momentum.
With all due respect, that's not a great idea for a combined cue! That opening of the Charade main title is so iconic! Nothing should be before it.
I can't remember now if Bruce did a crossfade on the two prom cues from Carrie, but putting them in the same track definitely wasn't for me. I just used the separate album tracks there when I converted them to digital.
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Well, why? Why do a crossfade. Explain to me what is gained.
When it's done well, excellent listening arrangements, like the Suite from "Boys from Brazil" by Jerry Goldsmith, which crossfades multiple cues into one larger, 20-minute coherent cue.
Sometimes cues are designed to be listened to as one larger cue, even if they are separated in a movie, sometimes not. I don't think cues should be forcibly put together, but I also don't think they should be forcibly kept apart. Goldsmith excellently combined some cues for his FIRST BLOOD release, too.
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With all due respect, that's not a great idea for a combined cue! That opening of the Charade main title is so iconic! Nothing should be before it.
That is for the listener to decide. I don't tell you or Marcato how to listen to music, and in an ideal world, that should work both ways.
Incidentally, the logo appears before the main title on the existing CD.
Not in the same track!
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Two cues that should have been combined on.the expanded STV:
the two pre credits pieced. Stupid that they aren't!
Thank God Lukas produced DIAMONDS ARE FOREVER and not a C & C Crazy or an ECS.
1. Gunbarrel/007 in Japan
2. 007 in Cairo
3.007 in France
4. 007 in South America
5. Death of Blofeld
6. Title song
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Thank goodness those were combined!
If anything, in my personal opinion, I would have relegated those to bonus cues for a better listening experience.
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Worst offenders for me:
The Sum Of All Fears (La-La Land)
I think this is a Goldwasser thing. I don't have all of the albums he's produced, but every one I do have has issues with combining cues in a seemingly arbitrary manner. I'm glad that Paramount legal finally started to demand that a card be included in all the albums he's produced that explains that Dan was recently diagnosed as "deaf his whole entire life" and that we should take this into account before listening to the contents of the compact disc we have purchased.
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Worst offenders for me:
The Sum Of All Fears (La-La Land)
I think this is a Goldwasser thing. I don't have all of the albums he's produced, but every one I do have has issues with combining cues in a seemingly arbitrary manner. I'm glad that Paramount legal finally started to demand that a card be included in all the albums he's produced that explains that Dan was recently diagnosed as "deaf his whole entire life" and that we should take this into account before listening to the contents of the compact disc we have purchased.
The Rutherford Maligning
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Well, why? Why do a crossfade. Explain to me what is gained.
When it's done well, excellent listening arrangements, like the Suite from "Boys from Brazil" by Jerry Goldsmith, which crossfades multiple cues into one larger, 20-minute coherent cue.
Sometimes cues are designed to be listened to as one larger cue, even if they are separated in a movie, sometimes not. I don't think cues should be forcibly put together, but I also don't think they should be forcibly kept apart. Goldsmith excellently combined some cues for his FIRST BLOOD release, too.
I think perhaps the use of the word "crossfade" is being not understood. A crossfade is a very specific thing - combining cues into a suite of cues is something wholly other - we've done it several times, especially if I have alternates - in fact, I love doing that if it works and makes sense. I think I did it on Red.
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Posted: |
Oct 4, 2019 - 3:21 PM
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By: |
Marcato
(Member)
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Well, why? Why do a crossfade. Explain to me what is gained.
When it's done well, excellent listening arrangements, like the Suite from "Boys from Brazil" by Jerry Goldsmith, which crossfades multiple cues into one larger, 20-minute coherent cue.
Sometimes cues are designed to be listened to as one larger cue, even if they are separated in a movie, sometimes not. I don't think cues should be forcibly put together, but I also don't think they should be forcibly kept apart. Goldsmith excellently combined some cues for his FIRST BLOOD release, too.
I think perhaps the use of the word "crossfade" is being not understood. A crossfade is a very specific thing - combining cues into a suite of cues is something wholly other - we've done it several times, especially if I have alternates - in fact, I love doing that if it works and makes sense. I think I did it on Red.
I don’t like Them at all if they were not meant to be or appear as such in the film. They should always be separated - people can combine Them at home OR ‘best of both words’ - and that would be an opputinity with scores only running about 30-40 minuttes
Since people are not sure about cross-fade i’ll go make a video that Will explain - when i can inseart time in-between my medical studies
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