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I don't know for sure, but I think its likely, as Goldsmith more often than not like treating electronics as a part of the orchestra.
Star Trek The Motion Picture was certainly that way with the Blaster Beam and synths that Craig Huxley played.
IMHO, this helps blend the electronics into the overall sound in a way that it more natural, so they don't sound tacked on.
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By the way, is it just me or are the electronics much more pristine on this mastering than on the original? They just seem much more pristine and have greater presence on all frequencies.
I certainly noticed that, in addition to the slightly drier mix.
Very welcome improvements.
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Posted: |
Aug 9, 2013 - 12:17 PM
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By: |
jwb
(Member)
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I don't know for sure, but I think its likely, as Goldsmith more often than not like treating electronics as a part of the orchestra.
Star Trek The Motion Picture was certainly that way with the Blaster Beam and synths that Craig Huxley played.
IMHO, this helps blend the electronics into the overall sound in a way that it more natural, so they don't sound tacked on.
The electronics had its place in The Motion Picture due to the presence of the alien cloud and V'Ger itself.
I was never a big fan of the use of electronics in Insurrection as for the most part it seems Jerry used them just cause he could. In First Contact, it makes sense with The Borg. But with Insurrection, the only elements of the electronics I like are the moments he used them to portray the feeling of youth, like in The Planet / Children's Story, How Old Are You, or Stay With Me. The other uses drown out everything else.
Overall, I enjoy Insurrection for its lighter moments than its bigger one's, which end up being very standard fair.
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Begin the cries out for the Nemesis complete score!
Also, I don't know why I never took note of this before, but in the end of the revised version of The Healing Process (as the Enterprise is running along the length of the collector as it explodes), I absolutely love the counterpoint and handoff of the horn line into the strings with the horns carrying a supporting countermelody. Something about it is striking me as absolutely exquisite. Maybe it's just the novelty of it after listening to the original soundtrack version for 15 years.
In any case, very few one can quite write a horn line (melody or countermelody) quite like Goldsmith.
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Well, a lot of people back then were comparing Goldsmith of the 90's with the Goldsmith of the 70's and considered his "recent" work less complex. I never really bought into that, at least not to the extent that his later work was dull, lazy or anything like that. He still put a great deal of thought and inventiveness into his scores, up until his last one.
Also, in general, the albums suffered because of the restrictions of the times. Many of his CDs were 35 - 40 minutes and he chose the tracks himself. Whether due to his personal taste or deadlines keeping certain cues out, I found his albums to be less interesting for the most part because he would often leave out some extremely interesting action material in favor of the slow, quieter cues. So, that may have had something to do with it. The original Insurrection CD, though, was a pretty good representation of the score and I always liked it.
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