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I know absolutely nothing about these movies but will absolutely contribute on the principle of supporting the film scoring community.
There is a question I have about re-recordings, which crossed my mind when listening to the Tadlow re-recordings of Lawrence of Arabia, which at times were a bit slow, and then other discussions about Goldsmith live-to-picture performances…
How feasible is it to conduct re-recordings with the same timing as in the film? It would require some work putting together the streamers and punches, but it is what is done for live score-to-film performances. The goal of course would be to match, as closely as possible, the timings within the film, all of which would have influenced how Goldsmith (or any other composer) approached writing the film.
This isn’t a demand but a question because, in the example of the Tadlow Lawrence of Arabia release, the goal was to present the complete score from the film with orchestral accuracy. It would seem to be the most true to the music and writing if the pace matched.
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The movie is available in original film speed so I can't imagine they would use a pal source. Then again, the Hubble was screwed up so who knows.
I've seen plenty of examples where the only circulating copies of obscure TV-movies come from British airings which of course would mean PAL speed-up on the music. I noticed that the film is on YT and the Main Title sounds identical to the sample indicating it came from that source possibly.
https://www.youtube.com/watch?v=TeINMIJaaXA (Main Title at 6:58)
This is my own copy, recorded in 1985 from WABC Late Night and you can hear a distinct difference. (Main Title at 6:54)
https://www.dropbox.com/s/rszwnupyezhkeuz/%281972%29-The%20Man.mp4?dl=0
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This is my own copy, recorded in 1985 from WABC Late Night and you can hear a distinct difference. (Main Title at 6:54)
You prove my point. My copy (from another source, yours looks better) is also the correct film speed. I'd like to think we're not the only soundtrack fans who have copies and recognize the difference - usually it's the voice pitch that gives it away, and sometimes the runtime - and that Leigh Phillips will get a proper movie copy. Or correct the pitch on a Pal copy.
But there's always the Hubble factor...
My audio has been shifted by 3/4 tone (so the music runs in a more sensible F) - a similar issue was encountered on “The Salamander”, so this type of glitch was preempted
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Posted: |
Aug 7, 2021 - 1:01 AM
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By: |
davefg
(Member)
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Herrmann has not received much attention recently from the labels, unlike other composers so I am in for this.
In terms of re-recordings? Did you somehow miss the two that Quartet Records put out?
In fact I think these are the most recent new recordings done by any label (pretty sure the Tadlow King of Kings was recorded before them), and Quartet has only done Herrmann so far:
https://quartetrecords.com/product/the-bride-wore-black/
https://quartetrecords.com/product/endless-night/
More Herrmann would still be great but he’s hardly been ignored on the rerecording front (I think some of his works for radio have even been done as download-only recently?)
I do love Bill’s suggested Herrmann three-fer though I feel certain it would require two discs. But I love the possibilities of Rozsa (Jungle Book), Goldsmith (Black Patch — agree that it would be odd to still do Face of a Fugitive at the point when the original 1958 tracks released earlier this year by Intrada sound very good), and Friedhofer (Joan of Arc) even more, personally.
Yavar
Yes, I know since I own both of these titles. Nonetheless, my point stands after this morning's announcement (on my side of the world at least). Other than the two excellent re-recordings by Quartet (who have announced that there will be no more re-recordings) and the Phase 4 boxset, there has been comparatively little in the way of Herrmann scores been released compared to scores written by Goldsmith. Honestly, for me, I am getting somewhat tired of all of the Goldsmith releases at this point. The only Goldsmith score that I have any interest in having recorded is Lionheart (and yes, I know it was recently released again). Anyway goodluck to Intrada and its Kickstarter campaign.
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OK, I'm in. Have just put in $30 for the high res download option.
A project worth supporting
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Well I backed it last night, plus Brotherhood of the Bell and Gladiator as add-ons.
Next stop, The Twilight Zone... err sorry The Thriller, Volume 3 zone.
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Very exciting news. More Goldsmith! Wow, crazy times. Will of course support this release. Thank you Intrada!
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I'm in. I don't know a note of these scores, and who knows if they'll go on to become life long favourites or not.... but preserving the first film score by someone as important as Goldsmith is a more than worthy endeavour and I'm proud to support it. I'm sure it'll come out sounding wonderful, just as Dial M did. Nice one Intrada.
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I supported Dial M for Murder, and am now supporting this Goldsmith release, but that doesn't mean I wouldn't also support Joan of Arc and a very extensive list of other projects like Anthiel's Pride and the Passion (1957). Can Intrada not up the pace a little while some of us are still alive ?.
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