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I STILL don't know the answer to this...
Is the Intrada release actual STEREO, or were the tapes MONO and Mike "turned" them INTO stereo? It's all so very confusing, so it the tapes WERE stereo.... someone just type "stereo", and that's all....no explanations! If the tapes were MONO.... please just type "mono".... and I'll be happy!
Thanks!
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What's "mxmx"?
That's Mike Matesino's username here.
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To elaborate a bit further, because the filmmakers knew the movie was going to be mono, the three track mixdown was considered "rough." Yes, it is "stereo," but not mixed in a way that it would have been if they were making a stereo film or planning to use the material for a soundtrack album. "Unconventional" is the best possible word to describe the element.
Mike M.
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To elaborate a bit further, because the filmmakers knew the movie was going to be mono, the three track mixdown was considered "rough." Yes, it is "stereo," but not mixed in a way that it would have been if they were making a stereo film or planning to use the material for a soundtrack album. "Unconventional" is the best possible word to describe the element.
Mike M.
Unconventional it may be, but it sounds absolutely stunning... a revelation after all these years. Thank you Mike!
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At the risk of compounding a felony, I'll address the Braveheart questions here.
Re: "The Secret Wedding" - as there is no track with that title on the "More Music" release, can you explain what music you're looking for? Was it something that was pulled right off the film? As I recall, the track in the main program is the same as the one on the original album.
Dan Goldwasser assembled the program and he delivered pre-mastered mixes to me that did not show any signs of clipping. If anything, the levels were very low and it seemed that this was the case on the original album as well.
I came onto the project because La-La Land wanted Mr. Horner's blessing for the release, and as I was already dealing with his representatives on the Williams and Silvestri projects (the ones released over the past few weeks) as well as two other Horner titles (Pagemaster and another coming early next year), I relayed the request and was then asked to work on the project and master it. Mr. Horner approved the release less than two weeks before the tragic accident. So it is dedicated to him and contains a lovely page with memorial notes from Mel Gibson and from James' longtime music editor Jim Henrikson.
Everyone who worked on it is very proud of it. Dan did a great assembly and everything available to us was included with the exception of one bagpipe source track that we were asked to cut.
Mike M.
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To elaborate a bit further, because the filmmakers knew the movie was going to be mono, the three track mixdown was considered "rough." Yes, it is "stereo," but not mixed in a way that it would have been if they were making a stereo film or planning to use the material for a soundtrack album. "Unconventional" is the best possible word to describe the element.
Mike M.
Thank you, Mike. The new information revealed in the interview now begs a further question on this point: should I feel as frustrated as I do that the original elements recorded at Fox no longer exist? Would those materials have yielded much more than just three tracks and second generation sound, and therefore your work and the final result today could have turned out quite different? Could you venture a guess as to a particular reason they weren't kept, especially for such an instantly famous and Oscar-winning score?
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At the risk of compounding a felony, I'll address the Braveheart questions here.
Re: "The Secret Wedding" - as there is no track with that title on the "More Music" release, can you explain what music you're looking for? Was it something that was pulled right off the film? As I recall, the track in the main program is the same as the one on the original album.
Apologies for the confusion:
"The Secret Wedding" was given a new title for the "More Music" album: "The Proposal".
It has dialogue from the film over the first couple of minutes of the track, but it's the same cue only with the (very) minor performance difference in Hinnigan's quena solo. This one is the version from the film.
Okay, thanks. Well, I'm going to say it's not on the new release. It was probably a case where the timing of a certain take was better for the film but Horner picked the performance he liked better for the album.
Mike M.
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