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STOP - WE DON’T WANT THESE UNNATURAL CUE COMBINATIONS.
I'd say YOU don't want these, not necessarily "WE" (whoever "we" is supposed to be here).
I very much prefer shorter cues grouped into one larger continuous cue, if that makes sense musically. That is the key point for me: does it make sense from a musical point of view, it doesn't matter if cues were joined in the film itself. And I really love what Christopher Young did with KILLING SEASON, basically re-shaping lots of cues into larger suites that make a coherent whole.
Not all people have issues with shorter cues combined into larger, coherent pieces of music, some even highly appreciate the extra mile a composer goes to present a coherent musical work on album.
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"It’s like forcing a religion down our throats"
Wow.
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I'm not 100% opposed to crossfades, but they have to make sense and/or "work". Bizarre combos, stringing short cues along for a nonsensical longer presentation, or taking perfectly stand-alone cues and combining them with others (like the final battle cue from the series finale of "Buffy the Vampire slayer") is what needs to stop.
In various TV shows scoring threads I have created, for example, I have provided examples of cues that should be combined.
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Looks like I hafta restart the War on Every Cue Separatists.
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" Nobody wants to buy an album with a bunch of5 second cues!"
- Ennio Morricone " In His Own Words"
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The Marcato Fanaticism
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Someone really needs to get a life!
Have a.nice life
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Barry DID combine cues on YOLT. " James Bond Astronaut" is from 2 diff scenes.
Sounds great!
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Just listening to THE LIVING DAYLIGHTS album where the bonus track has this horible shit upon to them
Two tracks suffer badly from this horible shit
Other tracks suffers mildly from it
Which cues specifically?
Personally I think the bonus tracks onThe Living Daylights are a paragon of sequencing. I didn't even realize some cues were edited together until I watched the film again a couple of years ago.
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Yeah but they were separated by space. - unnatural cue combinations are not separated by space
The space for me is what I can't stand. It slows down the momentum. (See Joel McNeely.)
The "Fahrenheit 451" CD does a good job with short cues and tight transitions.
Yes.
That CD would have been a disaster with spacing out the cues; instead of a classic recording!
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I don't know if this is the right place--was listening to "Walk in the Woods" from Twister and noticed how the beginning of the cue fades in, like there is more from the beginning. I haven't watched the movie in a long time but I do remember there is a kind of harsh transition into the VH song at the end of the cue which the soundtrack album mercifully leaves off. I can't remember if there is more music before the album start of the cue because it sure sounds like it. For the highlight of the album (honestly, the whole reason I bought the score was for that track alone) it feels like kind of a jarring start...
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I think all cues of all film scores should be cross-faded and blended into each other and then forcibly shoved down Marcato's throat. Like religion, you know?
Hail the crossface! Amen!
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I think all cues of all film scores should be cross-faded and blended into each other and then forcibly shoved down Marcato's throat. Like religion, you know?
Hail the crossface! Amen!
I already said that.
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Posted: |
Sep 14, 2019 - 6:14 PM
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By: |
kenisu3000
(Member)
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I'm part of the camp that prefers cues separate, or at least believes that crossfading should only be done in a few rare circumstances.
Isn't the whole point of these score releases to be able to listen to the music in isolated form - isolated from the voices and sound effects of the movies they come from? For me, that includes isolation from other cues. When I want to listen to a specific cue, I want to hear it start up cold, without any unrelated, high-pitched strings or horns muddying up the first few notes.
I *really* don't think there'd be some massive outcry from consumers if the labels started sacrificing a "flowing start-to-finish album experience" for something more playlist-friendly. The anime and video game soundtracks I listen to tend to keep things mostly separate, and nobody cares. One example that springs readily to mind is the Pocket Monsters (Pokemon) anime soundtrack from 2011. A huge chunk of that score had never been made available before, and Volume 2 contained a long string of tracks in the middle that were all super short, 10-second cues/bridges - and not only were they not crossfaded, they each had their own track! As unusual as that was, I never saw a single complaint from other fans about it being jarring. I did see a few mentioning how odd it was that the tracks didn't have proper names (they all went merely by slate number), but at the end of the way we were all just happy to finally have so many of our favorite cues available.
I'm not suggesting each cue get its own track; that'd be insane for the shorter cues and bridges. I *would* like to hear more of each cue, even if it is a short one, coming to a full stop before the next one starts.
This is the only way we common folk are going to get the music, so I don't see how it's so unreasonable to want it mostly separate. Once they're combined it's impossible to separate them cleanly for our own playlists. Most vocal song albums I know of allow each song to fade out all the way before starting up the next one, so why is crossfading such a widespread practice in our neck of the woods?
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