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I don’t like Them at all if they were not meant to be or appear as such in the film. Yes, you don't. But that's just you. There are also those who don't give a hoot in hell how the music appeared in the film, and the more important thing is: does it make sense musically. It's okay if you don't like it, just don't pretend and claim nobody else does.
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The thing is.... Crossfading is very quick, you barely notice it! We are NOT talking about The Beatles crossfading "" Sgt.Pepper..." into " With A Little Help From my Friends/ A Day in the Life". Get cryin' out loud!
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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 Please. Don't. Study and then study some more.
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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. Ok, maybe I don't understand the word "crossfade" here, so let me elaborate on my example of FIRST BLOOD, and let's take an "original soundtrack" track like THE RAZOR or MOUNTAIN HUNT, which combine cues into a lengthier cue, which is what I am -- at times -- in favor of. Is that what we are talking about or not?
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The thing is.... Crossfading is very quick, you barely notice it! We are NOT talking about The Beatles crossfading "" Sgt.Pepper..." into " With A Little Help From my Friends/ A Day in the Life". Get cryin' out loud! Wait a second--the Sgt. Pepper/Help thing isn't a crossfade. The 2 songs had a deliberately written section linking them together. Later on, there is an actual crossfade of audience noise leading into "A Day In The Life". I always hated that link. It's so nice to have "Day" with a clean intro. The October Semantics
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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. Ok, maybe I don't understand the word "crossfade" here, so let me elaborate on my example of FIRST BLOOD, and let's take an "original soundtrack" track like THE RAZOR or MOUNTAIN HUNT, which combine cues into a l Crossfade- one track fades out while a new track fades in. There is a brief OVERLAP of the cues.. Like in movies.
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Posted: |
Oct 4, 2019 - 7:29 PM
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By: |
Octoberman
(Member)
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It should not be the listener's job to finish someone else's album. If a "producer" simply presents everything as recorded for the film, as a series of individual cues, there is no production: She is simply sharing the original work parts with the rest of the world and claiming a credit. I personally have no problem doing that job. It's for my own enjoyment, I'm good at it and I don't expect a producer to know what I like. If it's the artist that's doing the presentation, like, say, John Williams or Jerry Goldsmith--that's obviously a little different. They'd get a pass--a BIG one--because they are the creators of the piece in question, not the REcreators. (But even then, there are times... ) I would say that, by and large, the reissue producers would get a sense pretty damn quick as to whether or not they are doing a good job making these editorial choices. They would get near-instantaneous feedback in places like this. If they are good at it, they get the kudos. If not, well, people will gripe and avoid the product that has that producer's name name on it. That's the marketplace. Tony Montana: "Izz not personal, Frank... izz bizzness.
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OnYa. As i have Said before. You have a problem if you feel taken out when short cues are separated by silence The Music is short and are supposed to be that Au contraire. In the films, those short cues are in effect crossfaded via dialog, sound effects, and visuals, creating a seamless whole. Crossfading short cues for an album reinforces the film experience. You can combine it in your home studio It should not be the listener's job to finish someone else's album. If a "producer" simply presents everything as recorded for the film, as a series of individual cues, there is no production: She is simply sharing the original work parts with the rest of the world and claiming a credit. But I'm sure that by now you've sufficiently frightened every producer into doing everything Marcato's way, so you have nothing to worry about. Word.
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Posted: |
Oct 5, 2019 - 7:35 AM
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By: |
Nono
(Member)
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As Bruce said, crossfading two cues or combining two cues are two different things. With crossfading, the end of the first cue and the beginning of the second cue are merged together, you hear both the end of the first cue and the beginning of the second cue at the same time. Usually, the volume of the end of the first cue is artificially decreased, as well the the volume of the beginning of the second cue which can be artificially increased (actually it's artificially decreased before being re-increased). As anyone can see, there's nothing natural. It's a practice that comes from pop or new age music. Combining two cues which are musically related is completely different, both the end of the first cue and the beginning of the second cue are fully preserved, and not articially merged using mastering tools. Erich W. Korngold and Bernard Herrmann composed that way, the end of a cue being musically related to the beginning of the following etc. Both used Richard Wagner operas as examples for such a technique. John Williams and Jerry Goldsmith didn't composed that way, I mean throughout a film and cue after cue, nevertheless for their albums they could combine different cues, but only if they were musically related. They were great musicians and knew what they were doing. Combining cues can be great. Crossfading can't, except maybe for some Hans Zimmer or Vangelis film scores.
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I personally have no problem doing that job. It's for my own enjoyment, I'm good at it I think no one is stopping you from proving that point by producing CDs. I don't expect a producer to know what I like Actually, that is exactly what I expect of a producer: deliver a finished product that I like. When I get a CD, I expect a finished product that can be listened to without having to do assembly work on my own. That would be especially tricky if I'm completely unfamiliar with the music and have never seen the film (nor would want to). If it's the artist that's doing the presentation, like, say, John Williams or Jerry Goldsmith--that's obviously a little different. They'd get a pass--a BIG one--because they are the creators of the piece in question, not the REcreators. (But even then, there are times... ) Oh, I agree that producers should try to nail the artists intentions, not start to meddle too much on their own. The guideline should always be to present the film score as a coherent listening experience on its own.
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I think we should all crossfade Marcato's ramblings, so as to create a (somewhat) more coherent listening experience.
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