Was there one in ALIEN (by Jerry Goldsmith) during the cue which I think is called "The Derelict"? It's the one that plays when they explore the strange ship and the "space jockey" is shown. If so, I love it! Creepy as hell too...
That's the one ("The Skeleton") that I thought of first too, a really effective use both in the bowed and plucked strings.
I feel like Horner using this effect was a nod to Goldsmith, or he was simply copying Goldsmith, but I can't prove it. The use in Humanoids, The Hand and Wolfen just recall Alien to me.
Does FREUD use Echoplex? I don't think it does, but I wouldn't be surprised if I'm wrong. What about Goldsmith's scores for episodes of "The Twilight Zone" and "Thriller"?
I would need to listen to FREUD again, because I don't recall any echo in that. Quite sure, though, that FREUD was recorded in Italy.
"The Grim Reaper" segment of Thriller uses an electric violin, I think (which - to my understanding - reverberates through an organ's console). Gluskin's re-recording of Goldsmith's TZ "Nervous Man in a $4 Room" in Germany for stock library sounds different than the music heard within the episode itself. This might be an example of post-recording alterations.
All of the music on the Varese Sarabande “The Twilight Zone” C.D.s (all of which were gathered for the Silva Screen set) were rererecordings, and with a few exceptions, were identical to the ones heard on the series, though Fred Steiner’s “A Hundred Yards Over The Rim” was substantially altered.
For me, the most startling, game-changing use of the echoplex was on the beginning of the title track of Miles Davis' Bitches Brew--those stark, shooting blasts of flugelhorn with rippling echos was a clarion call for the age, 1969.
All of the music on the Varese Sarabande “The Twilight Zone” C.D.s (all of which were gathered for the Silva Screen set) were rererecordings, and with a few exceptions, were identical to the ones heard on the series, though Fred Steiner’s “A Hundred Yards Over The Rim” was substantially altered.
I don't have the Varese Sarabande versions but I've heard that they do indeed match the Silva.
I have the Silva and I can tell you that at least when it comes to the Jerry Goldsmith scores (and I *think* the Bernard Herrmann scores), you are incorrect about them being rerecordings. We have now covered all of his Twilight Zone scores on The Goldsmith Odyssey, and all of his cues match up with the show, with a couple of exceptions:
2. There are a handful of cases where the Silva set presents separate elements of cues (i.e. "The Image" and "The Image A" from Nervous Man, or the separate parts of "Return to the Past" which should have been crossfaded as designed for the episode). Someday these should be released combined, as intended by Jerry, rather than in their raw form.
I can also confirm that Man on the Beach (aka "Jazz Theme #1" on the Twilight Zone discs) is also the original recording. "Jazz Theme #2" I can't confirm for sure as we were unable to find the "Fair-Haired Boy" episode of Studio One which it was taken from.
"Jazz Theme #2" I can't confirm for sure as we were unable to find the "Fair-Haired Boy" episode of Studio One which it was taken from.
Actually, we may be good there too, Yavar! Much of Jazz Theme#2 was used in Escape Clause. It was the most tracked into Twilight Zone of the two Jazz Themes, in fact, and the matches were perfect. That doesn't mean it wasn't rerecorded after The Fair-Haired Boy, of course, but as far as the Zones go, the Silva disc has those original sources.
I suppose we could compare Marriage of Strangers cues to see what sources Twilight Zone used, and infer from their what is most likely in JT#2's case.
"Jazz Theme #2" I can't confirm for sure as we were unable to find the "Fair-Haired Boy" episode of Studio One which it was taken from.
Actually, we may be good there too, Yavar! Much of Jazz Theme#2 was used in Escape Clause. It was the most tracked into Twilight Zone of the two Jazz Themes, in fact, and the matches were perfect. That doesn't mean it wasn't rerecorded after The Fair-Haired Boy, of course, but as far as the Zones go, the Silva disc has those original sources.
I suppose we could compare Marriage of Strangers cues to see what sources Twilight Zone used, and infer from their what is most likely in JT#2's case.
We can't know whether JT#2 was a re-recording without hearing it in its original context "The Fair-Haired Boy". We can only confirm that what's on the disc matches with what's tracked into The Twilight Zone, which I already knew you'd done. But TZ *would* be using re-recordings if there were two performances, as we know they did with the two Goldsmith Playhouse 90 scores ("A Marriage of Strangers" and "Tomorrow"). So the question is whether JT#2 was the original performance of that music (like JT#1) or whether it was a re-recording for library use, as with the two P90s.
We can't know whether JT#2 was a re-recording without hearing it in its original context "The Fair-Haired Boy". We can only confirm that what's on the disc matches with what's tracked into The Twilight Zone, which I already knew you'd done. But TZ *would* be using re-recordings if there were two performances, as we know they did with the two Goldsmith Playhouse 90 scores ("A Marriage of Strangers" and "Tomorrow"). So the question is whether JT#2 was the original performance of that music (like JT#1) or whether it was a re-recording for library use, as with the two P90s.
Yeah, we agree on the facts, better stated by you. I take the extra step into probability, that since the other P90s scores tracked into Twilight Zone were re-recordings, JT#2 is likelier also one. I think it was Lud Gluskin himself who would re-record batches of CBS music in Europe for the library. It makes sense to think he would have gotten them done in batches, often gathered by show and/or chunks of time.
Yeah, we agree on the facts, better stated by you. I take the extra step into probability, that since the other P90s scores tracked into Twilight Zone were re-recordings, JT#2 is likelier also one.
Except that JT#2/"The Fair-Haired Boy" was an episode of Studio One, not Playhouse 90.
Yeah, we agree on the facts, better stated by you. I take the extra step into probability, that since the other P90s scores tracked into Twilight Zone were re-recordings, JT#2 is likelier also one.
Except that JT#2/"The Fair-Haired Boy" was an episode of Studio One, not Playhouse 90.
STAR TREK II: THE WRATH OF KHAN. I believe it's in "Battle in the Mutara Nebula." Other than Jerry's use of it in PATTON (which for me has such psychological impact, both for the character and the film), TREK II is my favourite.
Horner uses the Echoplex on the trumpets when Khan is first introduced. The idea was Meyers: he mentioned Goldsmith's Patton as an example. Horner re-uses the Echoplex in the Regula I scenes, after the massacre.
Someone had asked about Alien and there are several instances (from Complete): “Hyper Sleep” & “The Terrain” – woodwinds “The Passage”, “The Skeleton”, “A New Face” & “The Eggs” – strings
