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GOD BLESS YOU LEIGH PHILLIPS!!!!
You're work on THE SALAMANDER is STUPENDOUSLY BRILLIANT, AND WONDERFUL!
Thank you so much! What a truly superb job you did on this reconstruction from EAR!
I bow to you! And all those who helped you a long the way.
WOW!
Just SUPER!
And please don't stop. MORE MORE MORE!!!!
Thanks, Zoob, that's very kind. I hope you enjoy the CD (it's a terrific score).
I'm not sure what's up next, but I'm sure it'll be equally exciting..you can't go wrong with Goldsmith!! :-)
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So Leigh, on The Salamander (and I guess apply this question to Hour of the Gun as well) did you at least have complete conductor's short scores to work from, and then just had to listen to see what instrument(s) had what line, or did you only have a piano reduction or maybe even *nothing* and had to do the entire job completely from scratch (listening to the film)?
Yavar
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So Leigh, on The Salamander (and I guess apply this question to Hour of the Gun as well) did you at least have complete conductor's short scores to work from, and then just had to listen to see what instrument(s) had what line, or did you only have a piano reduction or maybe even *nothing* and had to do the entire job completely from scratch (listening to the film)?
Yavar
Hi Yavar,
I think there may have been short scores present for HOTG (I'm not entirely sure). For the Salamander CD, the Czech DVD was the only source material available and the previous Prometheus CDs for Cassandra & Ransom were used for the suites.
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Wow. A lot of the time I can tell a little bit when something isn't the same orchestration used in the film recording. Little things get missed, especially when there isn't even a reduction of the full cue available. But the Salamander sample sounds amazing. You just really nailed it.
How did you manage parts where the music mix got low or there were loud sound effects or dialogue? Were there no cues that were dialed out at any point? If so that's pretty lucky. It wasn't uncommon for Goldsmith to have a cue or two dialed out, at least partially.
Yavar
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Wow. A lot of the time I can tell a little bit when something isn't the same orchestration used in the film recording. Little things get missed, especially when there isn't even a reduction of the full cue available. But the Salamander sample sounds amazing. You just really nailed it.
How did you manage parts where the music mix got low or there were loud sound effects or dialogue? Were there no cues that were dialed out at any point? If so that's pretty lucky. It wasn't uncommon for Goldsmith to have a cue or two dialed out, at least partially.
Yavar
Thanks Yavar; I think being a confessed Goldsmith obsessive contributed a great deal to completion of this score. To be honest, there were no cues that sported any noticeable 'weird edits', so I guess the majority of the music in the film was pretty complete (in its own context). There was the odd bar that was clouded by SFX, dialogue, etc, but there was enough musical information, either side, to be able to fill in what maybe there - these moments are few and far between....and the joins aren't noticeable ;-) Apart from that, the rest was done through concentrated listening, gratuitous EQing and a hell of a lot of patience!
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I guess we really lucked out on this "lost score" (referring to both tapes and any written version) that it was treated much better than many Goldsmith scores in the film itself, so that we can, thanks to your efforts, get a virtually complete recording of what Goldsmith originally wrote.
So new question: Obviously what scores get done is mainly up to Luc at Prometheus who's footing the bill, but as a Goldsmith fanatic yourself, what's your current dream project for this new series?
Yavar
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I guess we really lucked out on this "lost score" (referring to both tapes and any written version) that it was treated much better than many Goldsmith scores in the film itself, so that we can, thanks to your efforts, get a virtually complete recording of what Goldsmith originally wrote.
So new question: Obviously what scores get done is mainly up to Luc at Prometheus who's footing the bill, but as a Goldsmith fanatic yourself, what's your current dream project for this new series?
Yavar
I'm not sure how many scores are planned for the series - but, if I could pick anything, it would be one of three things:
. Complete Lionheart (the soundtrack performance is pretty poor)
. A CD of his scores for Thriller & Twilight Zone
or
. Orchestral realisation of one of his 'synth trilogy' scores (which maybe interesting, as he tended to write quite orchestrally for the keyboards on those projects)
Those would be my choices...but who knows what's next :-)
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Posted: |
Apr 10, 2013 - 3:44 PM
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By: |
markbagby
(Member)
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There was the odd bar that was clouded by SFX, dialogue, etc, but there was enough musical information, either side, to be able to fill in what maybe there - these moments are few and far between....and the joins aren't noticeable ;-)
I thought they used frog DNA? No, wait, that was a John Williams score.
I'm just kidding, of course.
This sounds (no pun intended) like an intensive process and one we ridiculous fanboys really don't appreciate enough. My hat is off to you, sir, along with the John Morgans of the world. You have my thanks.
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I'm not sure how many scores are planned for the series - but, if I could pick anything, it would be one of three things:
. Complete Lionheart (the soundtrack performance is pretty poor)
. A CD of his scores for Thriller & Twilight Zone
or
. Orchestral realisation of one of his 'synth trilogy' scores (which maybe interesting, as he tended to write quite orchestrally for the keyboards on those projects)
Those would be my choices...but who knows what's next :-)
Cool, Leigh -- thanks for the response!
Yavar
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Well, it isn't really up to him because he's not paying the bill...but since he's a Goldsmith fanatic I'm sure he'd love to do QB VII (hopefully more written material survives for that though than The Salamander!)
You can see from this thread that James Fitzpatrick (Tadlow producer/owner) is keen on doing QB VII, but unless he decides to start up the re-recordings on his own Tadlow label again (he keeps threatening that he's done) it isn't actually up to him either. Both he and Leigh Phillips are hired by Luc Van de Ven at Prometheus Records! So he's the one we have to hope is a fan of QB VII...
Yavar
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. Orchestral realisation of one of his 'synth trilogy' scores (which maybe interesting, as he tended to write quite orchestrally for the keyboards on those projects)
Obviously we're speaking hypothetically here, but if you were to focus on one of his three all-synth scores to "realize" orchestrally in complete form I'd go with Runaway, perhaps filled out by a suite from Criminal Law including the unreleased music from that score plus the best of the music from the album.
Alien Nation, the most recent of the three, really doesn't sound too bad as-is and seems better conceived for all electronics. Plus, if arranged for orchestra most of it would just be The Russia House.  (just joking a little bit there)
Runaway though sounds pretty awful on synths, but you can tell the composition itself is good (more so than on Criminal Law I think). It's Goldsmith's first synth score and therefore roughest, but also his most popular, with Varese's DE of 2000 copies selling out with shocking speed, whereas the rejected Alien Nation took quite a while to move 3000 copies and Criminal Law (not limited) seems to be almost universally reviled as one of Jerry's worst scores, so even if it'd get a reappraisal in orchestral form it's probably not best sales-wise to give it top billing (which is why I suggested a suite to fill out a Runaway recording).
Yavar
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Well, first to readdress my previous post, I guess since Varese surprisingly went and reissued Runaway: The Deluxe Edition as an Encore title of 2000 more copies (seriously, THIS instead of reissuing say, The 'Burbs: DE?) that a complete orchestral Runaway recording is much less likely. Maybe make Criminal Law the complete score, filled out by a Runaway suite?
Anyway, I'm really curious Leigh if you're working/have worked on any other Goldsmith reconstructions (obviously we know you can't tell us what). We know now that you were busy on another project and couldn't do QB VII (which thankfully your colleague Mr. Purvis did a great job on).
We know now that you did do work on a new performing edition of The Blue Max for a new recording, but since LLL has announced a new 2 disc "rebuilt from the ground up" set the actual recording of it has been put on hold (James said until the 50th anniversary in two years, which would seem very appropriate). Sorry that your work on that won't bear fruit in the nearer future, though!
Can you let us in on some of the details of The Blue Max? Did you finally have some written materials to work with on this one, or did you have to do it by ear again? I guess at least you wouldn't have had to listen to the music in the film with volume fluctuations, dialogue, and sound effects, but could refer to the Intrada release. That must've felt like quite a luxury!
Oh, and was this image you tweeted The Blue Max or can we still be expecting whatever it was in the near future? https://twitter.com/LPFilmMusic/status/357250725505544192
Yavar
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Well, first to readdress my previous post, I guess since Varese surprisingly went and reissued Runaway: The Deluxe Edition as an Encore title of 2000 more copies (seriously, THIS instead of reissuing say, The 'Burbs: DE?) that a complete orchestral Runaway recording is much less likely. Maybe make Criminal Law the complete score, filled out by a Runaway suite?
Anyway, I'm really curious Leigh if you're working/have worked on any other Goldsmith reconstructions (obviously we know you can't tell us what). We know now that you were busy on another project and couldn't do QB VII (which thankfully your colleague Mr. Purvis did a great job on).
We know now that you did do work on a new performing edition of The Blue Max for a new recording, but since LLL has announced a new 2 disc "rebuilt from the ground up" set the actual recording of it has been put on hold (James said until the 50th anniversary in two years, which would seem very appropriate). Sorry that your work on that won't bear fruit in the nearer future, though!
Can you let us in on some of the details of The Blue Max? Did you finally have some written materials to work with on this one, or did you have to do it by ear again? I guess at least you wouldn't have had to listen to the music in the film with volume fluctuations, dialogue, and sound effects, but could refer to the Intrada release. That must've felt like quite a luxury!
Oh, and was this image you tweeted The Blue Max or can we still be expecting whatever it was in the near future? https://twitter.com/LPFilmMusic/status/357250725505544192
Yavar
Reconstruction work on The Blue Max was finished quite a while ago, so it is a shame that we're unlikely to see it realised any time soon. A truly exciting and incredible score to work with - classic Goldsmith!! The majority of it was completed via takedown, although we did have the concert suite to use as reference for certain cues.
Re the picture, this was a snap of a very large suite of music that could possibly feature as a bonus track on The Blue Max CD - although I can't be 100% on that.
No other Goldsmith scores have passed this way since completing the suite, but that's not to say that someone else hasn't tackled one.....incidentally, that's not a sneaky hint 
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