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I'm still wondering what member waxmanman35 was talking about - he said a Salter collection was at Univ. of Wyoming. He implied he played them so I would think he knows where they were located.
As far as what I was told, only UCLA was mentioned. But that was only in reference to Ghost of Frankenstein. Perhaps it was moved, or perhaps another copy was made? It's also possible I mis-heard or was misinformed.. that has happened on occasion 
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Posted: |
Apr 9, 2019 - 1:08 PM
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By: |
MMM
(Member)
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I was able to get score manuscripts from Wyoming without the difficulties I had at UCLA. Wyoming used to be very easy to work with, but then they had a succession of archivists through the years and the knowledge that the earlier ones had wasn't quite up to snuff. They might be fabulous now, but I haven't had any dealings with them in quite some time. I do have some material that should go into a few of their collections, but the last time I contacted them about it, nothing came of it, so I gave up. These archives have so much stuff, no budget for them, and they're understaffed. So even trying to do the right thing can become difficult. The people who love Salter's music wouldn't trade that music of his for anything else, but unfortunately there are so few of us in the world.
No, having fans write to an archive wouldn't help free any material. In fact, sometimes it seems as if there's a battle between archivists and people who want to commercially release the product. They are academics and many of them seem to want to preserve their holdings by keeping them in a sort of "museum." Letting that stuff get out there is apparently not what many of them are taught in their library science classes or wherever they learn how to do their jobs. I always used to try to downplay the commerciality of things I was working on in case that word was anathema to them. Of course, not all archives/archivests are like that, but some most certainly have been.
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Oh I follow you. Almost have to laugh at ourselves the way this stuff has real meaning and we've got to have it, who cares what anybody thinks. Rather remarkable the lengths we go to in pursuit of nailing things down. These elusive Universal scores seem to have generated the most sustained confounded posting at this place.
I just wish there was more I could do to help.. I think a lot of people whether at Universal, or UCLA, or wherever will look at a 70+ year old film score and think "Who'd want this?". They are definitely worth pursuing and preserving IMO. Ghost Of Frankenstein has a score that's honestly much better than the film itself. I am a big fan of the Universal Horror films, and Salter's work here is just outstanding.
Has anyone actually heard the acetates of Ghost? The Tony Thomas LP doesn't sound the greatest, but I have a feeling that may have been due to equalization at the time. In the film and trailer itself, the score sounds incredibly rich and wonderful - even compared to other films at the time. If only I had a time machine.. imagine hearing the originals in today's quality. Thankful for people like David, John Morgan, William Stromberg, and others that have re-recorded some of these great scores.
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The people who love Salter's music wouldn't trade that music of his for anything else, but unfortunately there are so few of us in the world.
This is so true. I'm 35 and I've loved his film music since I was a kid.. I've played it enough around my kids that they know what different themes and cues go to what character.
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Has anyone actually heard the acetates of Ghost? The Tony Thomas LP doesn't sound the greatest, but I have a feeling that may have been due to equalization at the time. In the film and trailer itself, the score sounds incredibly rich and wonderful - even compared to other films at the time.
Have you ever heard old soundtrack acetates? Seems like they sound worse than vinyl, or maybe it's just that due to age, there's alot more crackle and scratches. The GOF acetates will likely sound alot worse than the film audio.
Yes I have, several times over. Perhaps I gave the wrong impression - I’m not expecting pristine quality from any acetate. Just wanting to clarify if the acetate sounds better than the equalized LP. For example, I have heard some of the acetates from Bride Of Frankenstein and those recordings sound better than the Ghost of Frankenstein LP.
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The sound quality may be a moot point unless you get to hear it. Maybe someone who copied them earlier can share the audio, strictly for educational purposes.
That would be amazing if so. I don't know if it was ever recorded outside of what was done with the LP release. Maybe the folks who worked on that have a copy.
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I obtained some Salter material from them c. 1972, as well as copies of some Rozsa cues from "El Cid" in full score that were in the Zador collection (which isn't listed now either). I can't fathom why that material is no longer in their catalog. If someone wants to call them and inquire the Accession number was 3199 and cage storage Row #8, although that may no longer be relevant.
This Eugene Zador collection can now also be found at UCLA. And they mention there that part of it indeed came from the University of Wyoming (see series 8 in the listing which apparently was added in 2015):
https://oac.cdlib.org/findaid/ark:/13030/tf3g50057q/entire_text/
So something similar must have happened with the Salter material which had formerly been in Wyoming,
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I would love a CD release of at least the LP that Tony Thomas put out of Salter's music. Ghost of Frankenstein was one, plus a double LP of an abridged version of that and a few other scores.
Bride would be amazing, since I hate the Silva rerecording. The tempo is all wrong in spots and I would love at least a more faithful rerecording.
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I would love a CD release of at least the LP that Tony Thomas put out of Salter's music. Ghost of Frankenstein was one, plus a double LP of an abridged version of that and a few other scores.
I had my LP of Ghost of Frankenstein transferred to digital, then used Audition to try and clean it up some. Not ideal, but I doubt it would ever see a CD release, unless a company can get ahold of the acetates and do a proper restore.
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