the gangs all here overlayed over the cue at the beginning the first two seconds 5:47-5:54 then repeat the last bar twice then 5:54-5:57 with another overlay then it goes into Pam And Reggie Meet Jason from part 5 redited with additional ki's
"Pearls Go Flying" probably was supposed to be the original cue for when Tina breaks Melissa's necklace. I tried a comparison the other night, and if you start the cue right at the first shot of Tina becoming mad after Melissa begins laughing, it does synch pretty well as the necklace begins to rise up and then break.
"Pearls Go Flying" probably was supposed to be the original cue for when Tina breaks Melissa's necklace. I tried a comparison the other night, and if you start the cue right at the first shot of Tina becoming mad after Melissa begins laughing, it does synch pretty well as the necklace begins to rise up and then break.
Yes. It is. Its just been edited (a few sections removed). Any idea on the short section directly following this (when Tina's mom is stabbed)? It sounds so familiar.
I'll check that one out next I still can't find the two overlays in michael's death also do you know where the end part of Tina Finds The Stake
I can't figure out the overlays for Mike's Death either. For Tina Finds The Stake, the ending sounds like 1:27-1:33 (fade) of Brenda In Lights. It has Ki-Kis that the film version doesn't have though.
I thought I revive this thread since Waxworks records has just released this year the soundtrack for Part 7 The New Blood. The good news all the Mollin cues are included. Not all the Manfredini cues are included and they aren't edited as they were in the film and still that one piece of music that wasn't on the part 6 soundtrack but was in the film is still not included.
Based on what's listed and my own (lack of) familiarity with the music, I've been trying to piece this together.
It's interesting hearing the original Mollin cues and what was done with them for some film versions. Also the placement comparing what is on the La-La Land release.
I can only imagine what they had to go through to create a worthwhile listening experience.
I've been working on tracking every cue for the past month while working on my book "The Music of Friday the 13th". I have all of Harry's scores, the studio cue sheets (which aren't always right), interviews w/ both composers, and have been going through PART VII note by note. The short version is, it's a mess. The problem is there were SO many last minute changes in the final mix that there was no real record of what was done. Everything was done very quickly. Not at all uncommon for a film mix, but this one in particular they were making pretty massive changes right up until the film was fully mixed. There are so many overlays too from both Mollin and Manfredini. And they piled cues on top of each other to create giant mashes of sound. It's been fun detective work but certainly not easy. When I'm done I should have the definitive documentation of everything used given all the available resources.
