^Uhh, yes, that's the same album I linked to nine posts earlier when I brought up the Shazam! theme in the first place.
TAS Music Cues
- Thread starter WRStone
- Start date
Great work!
Is "Action Cue #1" the music heard here?
http://www.youtube.com/watch?v=JueL20Mcglo&feature=related
That's the background music I think of when I think of TAS.
Is "Action Cue #1" the music heard here?
http://www.youtube.com/watch?v=JueL20Mcglo&feature=related
That's the background music I think of when I think of TAS.
^If I understand DakotaSmith's notations, yes, with "Action Cue #2" starting at around 0:39. Also, for some reason, it's playing too slowly on that YouTube clip.
The beginning of what I call "Action Cue 01" can be heard at 04:40 in this clip from "The Slaver Weapon". It's not the full cue, but it's easy to hear.
"Action Cue 02" is largely in the clear in the same episode. If it weren't for the frakking sound effects, it would be perfect from beginning to end. You can hear it at 03:00 in this clip on YouTube.
As I say, the naming is mine and in fact both of these cues may have been recorded as two movements of the same cue. In practice, they were paired at least fifty percent of the time.
By the way, even on YouTube the sound quality of that particular episode is evident. Turned up to 480p you can still hear the percussion clearly.
Dakota Smith
"Action Cue 02" is largely in the clear in the same episode. If it weren't for the frakking sound effects, it would be perfect from beginning to end. You can hear it at 03:00 in this clip on YouTube.
As I say, the naming is mine and in fact both of these cues may have been recorded as two movements of the same cue. In practice, they were paired at least fifty percent of the time.
By the way, even on YouTube the sound quality of that particular episode is evident. Turned up to 480p you can still hear the percussion clearly.
Dakota Smith
^Like I said, track down that Jason of Star Command episode. That might just give you the clear portion you need, if I'm remembering correctly.
You're almost certainly correct, however I'm finding that it may not be necessary. I'm going through, eliminating non-music tracks while at the same time listening to what's there. Aside from volume issues (which are legion), there's considerably more of the music in the clear than you might think.
Also, I don't have a Jason DVD set to rip from, and the sound quality on my MP4s is crappy. I'd hate to use that, given what I'm getting from the TAS DVDs.
I'll see. You can expect a few more cues this weekend: I've not got a lot going on, and I've become rather excited about this project.
Dakota Smith
New track:
This is a variation on the "Danger Approaching" cue, which isn't yet up. However, if you listen, you'll probably know which cue it's a variation of.
I'm throwing it up because the sound quality impressed the hell out of me. There are a lot more instruments here than usual, and I dearly wish I could hear the original masters. They must sound amazing (if they exist).
I got very excited by this cue because of the very end. It's pretty rare when I get completely surprised by something in TAS -- I've loved this music since I was eight years old, used to have audio copies before videotape, and listened to them pretty incessantly.
I never heard this cue so clear, and I had no idea there's a little "period" tagged on to the end of it.
Also, I'm getting better at fixing the volume. It's painstaking, because I have to select tiny fractions of the waveform -- milliseconds long -- and gradually increase the level a decibel or so at a time.
But damn, this cue was worth it to me, just to hear the musical "period" at the end.
The cue required a little splicing, but I guarantee you'll never hear it.
Dakota Smith
This is a variation on the "Danger Approaching" cue, which isn't yet up. However, if you listen, you'll probably know which cue it's a variation of.
I'm throwing it up because the sound quality impressed the hell out of me. There are a lot more instruments here than usual, and I dearly wish I could hear the original masters. They must sound amazing (if they exist).
I got very excited by this cue because of the very end. It's pretty rare when I get completely surprised by something in TAS -- I've loved this music since I was eight years old, used to have audio copies before videotape, and listened to them pretty incessantly.
I never heard this cue so clear, and I had no idea there's a little "period" tagged on to the end of it.
Also, I'm getting better at fixing the volume. It's painstaking, because I have to select tiny fractions of the waveform -- milliseconds long -- and gradually increase the level a decibel or so at a time.
But damn, this cue was worth it to me, just to hear the musical "period" at the end.
The cue required a little splicing, but I guarantee you'll never hear it.
Dakota Smith
^Cool, I was wondering when that one would show up. I was puzzled that you didn't seem to count it as one of your "Action Cues."
And yeah, I noticed that variation. My assumption has been that the usual version is basically the same recording but with the percussion tracks left out, but it's possible it could be a different performance; it'll be good to hear it in the clear and compare them.
And yeah, I noticed that variation. My assumption has been that the usual version is basically the same recording but with the percussion tracks left out, but it's possible it could be a different performance; it'll be good to hear it in the clear and compare them.
I think (but am not sure at this time) that it was the result of two different recordings edited together. The basic "Danger Approaches" seems exactly the same as the usual cue, but the additional percussion is laid down over it.
I do so wish I could ask Ellis.
Dakota Smith
As I understand it, normal procedure is to acoustically isolate the different instrument sections and record them on separate tracks so that you can remove some of the instrument lines from the playback (or otherwise modify them individually) if you wish to. So the simplest explanation is that the more complex version is the complete, original performance and the other version is the same recording with some of its tracks removed in playback.
That's very possible. It makes one wonder if there weren't different orchestrations of these cues on the masters that had some of the orchestration cut prior to being used.
Hm ... Ellis' son Marc is still living, and he did some kind of work on Flash Gordon. He also assisted his father later in his career (I'm thinking mostly of Eight Crazy Nights, here).
I wonder if he could shed any light on this? Admittedly, I think he was a teenager or younger when TAS was composed, but the neat thing about family members is that they hear things. My dad's a clinical psychologist who used to get calls from patients from time to time when I was growing up. I don't know a hell of a lot about psychology, but I could tell you a thing or two about how my dad operated his business.
Dakota Smith
Hm ... Ellis' son Marc is still living, and he did some kind of work on Flash Gordon. He also assisted his father later in his career (I'm thinking mostly of Eight Crazy Nights, here).
I wonder if he could shed any light on this? Admittedly, I think he was a teenager or younger when TAS was composed, but the neat thing about family members is that they hear things. My dad's a clinical psychologist who used to get calls from patients from time to time when I was growing up. I don't know a hell of a lot about psychology, but I could tell you a thing or two about how my dad operated his business.
Dakota Smith
Bit of a bump, just to say where I'm at ...
I'm learning as I go on this, which means I'm no longer satisfied with my initial work that's on YouTube. I'm going to leave it up as tests, but probably delete them when what I've got what I think will be final.
Because I realize there may be others with better skills and/or hardware, not only am I working on my version of these cues, but I plan to release them as a torrent ... along with all the ripped music and the Audacity files I'm using to make my clips.
My feeling is that while I'm going to give this my best shot (and I think it's a good one), there's no reason for others to have to repeat the initial grunt work of ripping the tracks and isolating the music.
Gonna be a big frakking torrent, though. The rips alone are 5GB, as it turns out ... but then, I did shoot them to the highest-quality FLAC that I could ...
Dakota Smith
I'm learning as I go on this, which means I'm no longer satisfied with my initial work that's on YouTube. I'm going to leave it up as tests, but probably delete them when what I've got what I think will be final.
Because I realize there may be others with better skills and/or hardware, not only am I working on my version of these cues, but I plan to release them as a torrent ... along with all the ripped music and the Audacity files I'm using to make my clips.
My feeling is that while I'm going to give this my best shot (and I think it's a good one), there's no reason for others to have to repeat the initial grunt work of ripping the tracks and isolating the music.
Gonna be a big frakking torrent, though. The rips alone are 5GB, as it turns out ... but then, I did shoot them to the highest-quality FLAC that I could ...
Dakota Smith
doubleohfive
Fleet Admiral
DakotaSmith, I just wanted to chime in and say thanks as well ... I've long wanted these tracks isolated so I could listen to them and you've gone and made that possible. I understand wanting to improve the quality and tweak 'em just right, so for now I will simply offer my humble gratitude for the tracks you have provided. 
I'll echo what they said--this is really cool stuff. Thanks for all the hard work you've put into this.
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