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Posted: |
Apr 28, 2015 - 6:54 PM
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By: |
Octoberman
(Member)
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Some of us don't have the software or the know-how to create our cross-fades and edits and so I'm relying on the album producers' presentation of the music. I'm not a fan of short cues, those 30 seconds or less, it's too choppy to listen and isn't always very musical, sometimes just a build-up to a sting. I prefer more well-rounded musical statements. If those short cues can be combined into a "suite" presentation, so much the better.
Even though I disagree, it must be pointed out that you make a very good point.
Where it gets dicey, though, is when such decisions are made long after the fact and the album in question is being presented and reissued by a editor or producer who are far removed from the original creative team that issued the album in the first place.
In other words, when, say, John Williams does it, that's one thing. He's the artist and it is his musical ethics and sensibilities that we not only accept, but we downright desire in collections of his work. But if it's a reissue 20 or 30 years later and a reissue producer is making those decisions... well, most likely it's excluding John Williams' input and the crossfades and medleys are unlikely to reflect the esthetic choices we would normally want or expect from him.
So this is why I say that just presenting the cues as recorded is the best position. Perhaps not "best" so much as "least potentially undesirable".
There are many happy exceptions, of course. Quite a few folks in the biz do know what they are doing.
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Posted: |
Apr 28, 2015 - 10:55 PM
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By: |
kenisu3000
(Member)
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I posted a thread on the Intrada forums (http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=5494&hilit=crossfading) a couple of years ago about how badly crossfading bugged me, and with some small exception, I pretty much got blasted six ways from Sunday and treated like a crazy person, so this thread is definitely refreshing to me.
Of course, I was also trash talking even the kind of suite that lets each cue come to a full stop before starting up the next, and I've since recognized that that practice isn't that big an issue (because at least I can still go in and cleanly separate the cues when it's done that way), and is sometimes a necessary evil. As a matter of fact I've almost come to prefer it. ... Almost.
All I know is, while I've had an above-average appreciation for film and TV scores my whole life, my big gateway drug for film score fanaticism came when I got into anime, and the soundtracks to these shows I collected typically did either the "breathing room style suite" thing, or gave each cue its own track, even the short cues and bridges. The Pocket Monsters Original Soundtrack Best vol. 2 from a few years ago features 11 bridges in a row, each with its own track, and you never hear anyone complain about that.
I still shudder at the thought that some day down the road, even if my Holy Grail (the DuckTales television score by Ron Jones) ever does get released, it'll be crossfaded to hell and back.
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I like everything separate on the CD.
I like to edit content to my own taste and if I prefer some pieces crossfaded or edited, I can do it for myself.
What he said.
Some of us don't have the software or the know-how to create our cross-fades and edits and so I'm relying on the album producers' presentation of the music. I'm not a fan of short cues, those 30 seconds or less, it's too choppy to listen and isn't always very musical, sometimes just a build-up to a sting. I prefer more well-rounded musical statements. If those short cues can be combined into a "suite" presentation, so much the better.
SMART BOY!!!!!!
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I loved the way Intrada combined the short cues added to Rosenman's Star Trek IV The Voyage Home. That was for me a great example of combining cues effectively that would have stood poorly on their own.
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I loved the way Intrada combined the short cues added to Rosenman's Star Trek IV The Voyage Home. That was for me a great example of combining cues effectively that would have stood poorly on their own.
If memory serves they put a lot of the short cues on one track, but there was silence between them. I know I had to go in and cross-fade all those segments myself so I got a good flow.
They did have breathing room between the segments, but typically shorter than the spaces between individual tracks, which I thought was just right. But then I'm not an editor of soundtracks, too close to the old day job.
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