War Horse - For Your Consideration Promotional CD

[Jay 39,596]

So the OST has some material that this doesn't?

Yes, the 5 cues I mentioned in the post above yours

[Luke Skywalker 1,941]

how much unreleased material ( in the FYC) do you estimate there is?

[Jay 39,596]

Oh! The OST also features the Learning The Call concert arrangement not on the FYC.

how much unreleased material ( in the FYC) do you estimate there is?

Not sure yet. Working on it...

[Richard P 4,214]

Meh, why does Williams do what he does to End Credits pieces?

He's done exactly what he did with PoA - moved things around, put in alternate versions of other things. It seems to be 80% a different cue from The Homecoming.

But at least we don't have to rip it from the DVD

On further listening, there are loads of differences here and there. I can see decisions coming about keeping alternate cues for one 5 second different section. Agh!

[ZackR 95]

Clean endings, etc? Awesome!

[Luke Skywalker 1,941]

damn, im going to be spoiled soon. i want to read all this new info... but

Luke, who took just one involuntary sweep-sight of the back cover when he opened the CD and the only words he read were

''someone's death''

and

''remembering someother''

[Richard P 4,214]

I still don't consider the second 'spoiler' to be a spoiler.

[Jay 39,596]

Luke if you don't want to be spoiled, you should stay out of any War Horse related threads until you've seen the film at this point. Especially ones that analyse the complete score or are about a CD of the score. Of course we will mention the track titles when discussing it

[Incanus 5,817]

What a strange track order. I wonder if all copies of the promo have a backwards track order. Would definitely affect the listening experience and opinion about the score for award voters.

But it is great that the film versions of some pieces are on the FYC album. More JW music is always good in my book.

[Nemesis 254]

Hmm, I enjoy it more to listen to the FYC CD as the OST. Strange....

[Incanus 5,817]

The picture you get from the FYC CD about this score is a bit different than from the OST. The Bonding/Main Theme is much more prominent and clear on the FYC at the expense of other thematic ideas. This could work to the advantage of the score among the award voters, establishing it as the clear thematic entity in their minds. And as Jason said in the other thread Williams uses themes quite liberally in this film aside from the main theme.

It is also a bit difficult to count how many minutes of extra music we can get from the FYC since it contains the film versions of most cues and the album does not, meaning that they contain something not found on the OST. These tracks are also not edited as on Tintin FYC album but rather the takes used for the film, or that is how it sounds to my ear. Most tracks where Williams has merged two sections of music from different parts of the film on the OST are here with clean openings and endings.

The FYC version of Plowing seems to start mid-cue, omitting the film opening which again differs from the OST opening.

Also to my ears The Dash Across No Man's Land is a different take altogether, not just the cue with an insert. It is about 30 seconds shorter than the OST version.

The Whistling Montage is what sounds like a revised film ending of the scene, the Learning the Call (the counterpart on the OST) being either a concert version or meant for a longer version of the same scene since it shares the opening section with the film version. Oddly the Whistling Montage on the FYC album is just a 50 second ending of the scene, not the whole 2 minutes cue.

The Reunion FYC version contains more music than the OST version but the ending of the FYC version is either editorially changed or rewritten so that the final phrase of the Friendship/Dartmoor theme is omitted perhaps due to conforming the music to the cut of the scene.

[chinaismine 64]

Soooooooooo...how would one go about listening to this?

[King Mark 3,729]

Conclusion:

It's better to keep the FYC and OST as seperate entities and not try to mix the 2 to get an "expanded score"?

[oierem 184]

Soooooooooo...how would one go about listening to this?

Same question! Lol

[Joe Brausam 221]

Conclusion:

It's better to keep the FYC and OST as seperate entities and not try to mix the 2 to get an "expanded score"?

Unfortunately that seems to be the case. I would have liked to find a way to edit together the two versions of Dash Across No Man's Land, but I can't think of a way that it would actually sound good.

I may replace the OST version of Dartmoor with the uncut version though, in my play list. Perhaps Bringing Joey Home/Bonding With Joey, and Harnesses will take their place in there too.

The Reunion could be mixed with the OST as well, just to have the complete ending of the cue. However, I think this cue works better without the extra material from the FYC.

[Incanus 5,817]

Conclusion:

It's better to keep the FYC and OST as seperate entities and not try to mix the 2 to get an "expanded score"?

I think you can combine the two, mostly adding a few things from the OST to create a longer expanded score but there will be a bit overlapping and editing since some of the material on the OST that is not on the FYC album has no clean openings or endings.

My expanded score track list, some editing required:

1. Dartmoor (FYC)

2. To the Auction (OST track 2, 1:56-end): The whole track is an edit on the OST, presenting 1:56 of the actual Auction cue and then jumping into a cue preceding the auction in the film where Joey is brought to the market which in turn contains some microedits, removing some of the darker passages as Joey is separated from his mother.

3. The Auction (FYC)

4. Bringing Joey Home (FYC)

5. Bonding With Joey (FYC): This is a different take than on the album, the opening string phrase and flute solo being a bit slower.

6. Bonding with Joey - The Duck (Album Version) (OST Track 3, 2:13-end):I included the bonding music again for the alternate (even if it is minimally so) opening and for a good segue to the 52 second comedic cue The Duck which does not have a clean opening and would be difficult to edit properly since it supposed to go here anyway in the film.

7. Learning the Call (The Whistling Montage) (OST Track 4): I do not know if this is a concert arrangment, a longer version of the same scene or what. It is however a rounded presentation of the musical ideas present in the scene.

8. The Whistling Montage (Film Version) (FYC):The latter half of the music used in the film. In the film the opening is the same or very similar to the opening of Learning the Call.

9. Albert Defends Joey and Harnesses (FYC)

10. Plowing (Album Version) (OST Track 6): A fully rounded performance of the piece.

11. Plowing (Film Version) (FYC): You could edit the OST opening to the beginning of this piece to get the full length cue. Oddly the opening 1 and a half minutes is not on the FYC album. I included this more for the sake of including all film versions since it is different from the OST version.

12. Dad's Metals and Horse Vs Car (FYC)

13. Ruined Crop (OST Track 7 0:00-1:51)

14. Leaving For France (FYC)

15. The Charge (FYC)

16. Surrounded and Captured (FYC)

17. The Desertion (Film Version) (FYC): Longer than the version on the OST but missing the music from the subsequent scene available on the OST track hence I include next

18. The Desertion (Album Version) (OST Track 9): The desertion music is a bit truncated on the OST, omitting some of the opening string lines and once again there is a crossfade here at around 1:30 where another cue starts. This mournful string piece

underscores the execution of the two German boys.

I am sure the slight microedit was done here with listenability in mind. These two pieces as presented here do follow each other in the film.

19. Joey's New Friends (FYC) (Same as the OST)

20. Pulling The Cannon (FYC) (More or less same as the OST)

21. The Death Of Topthorn (FYC) (Same as the OST)

22. The Dash Across No Man's Land (Film Version) (FYC):Contains an insert which then goes into a truncated version of the rest of the piece, some 30 seconds shorter than the OST version)

23. The Dash Across No Man's Land (Album Version) (OST Track 13, 1:52-end) : Album version has an audible crossfade of the piece Approaching Trapped Joey (OST Track 13, 0:00-1:51) which bleeds a couple seconds into the cue underneath the opening orchestral rumble. You could try to edit the clean opening of the above film version into the OST version.

24. Approaching Trapped Joey (FYC)

25. The Reunion (Film Version) (FYC): Longer than the OST version with a different opening and one section in the middle. Also the ending has a slight edit or rewrite which shortens the Friendship Theme's last phrase slightly. The original ending is full on the OST.

26. The Reunion (Album Version) (OST Track 14)

27. Remembering Emilie and Finale (OST): The FYC album has an unnecessary pause around 0:50 which is not present on the OST and thus the OST version is a more fluid listening experience.

28. The Homecoming (End Credits) (OST Track 16): The FYC version is an obvious edit of Homecoming with a dash of Dartmoor and The Reunion edited into the mix and finished with the flute solo from Plowing. Even though not exactly the clunkiest edit I still prefer the OST version, the one Williams obviously wrote for the end credits before they were edited to bits, and it is for me the definitive End Credits suite.

[King Mark 3,729]

Here's my observations upon listening to the FYC once

Whistling Montage: Unreleased?

Albert Defends Joey, The Harnesses :Seems to contain the unreleased Bonding theme I noted in the film

Approaching Trapped Joey:Unreleased?

The Reunion: Little unreleased bit

[Jay 39,596]

You're way off

FYC Whistling Montage is in the second half of OST Learning the Call

FYC Approaching Trapped Joey is in the first half of OST No Man's Land

The Reunion indeed includes unreleased bits that Williams microedited out of the OST

[King Mark 3,729]

ok

but am I right about the Bonding theme in The Harnesses?

[Jay 39,596]

I'm comparing the FYC to the OST second by second now and will post the results as soon as I'm done. Hopefully I can finish by dinner time

[Joe Brausam 221]

ok

but am I right about the Bonding theme in The Harnesses?

You're right about that, The Harmess was completely unreleased on the OST.

[King Mark 3,729]

Good, it's the only unreleased bit I noticed in the film I wanted

[King Mark 3,729]

So I guess The Harnesses is this score's Capturing the Plane and we got on the Promo too

[Incanus 5,817]

My expanded track list was done with the logic that if the film version of a piece is available on the FYC CD and the OST has only an edited version, then the FYC is the definitive one.

E.g. The Auction on the FYC is the actual complete cue, the one on the OST is an edit. I could go on in detail about the differences between these CDs but I'll let Jason do the talking.

[Jay 39,596]

OK so it turns out the CD is more chock full of alternates than I would have guessed! Some of it is alternate performances rather than alternate music, but its all worth checking out for yourself to see which version you prefer.

And again - This FYC disc has full, unedited recording session cues, and NOT the exact film version edits with loops and microedits like the TIntin and Super 8 FYCs.

(For this list I am pretending the tracks were presented in the right order on the disc)

1. Dartmoor (4:07)

[0:00-0:09] = UNRELEASED SEGMENT not on the OST at all! (0:09)

[0:09-1:03] = OST 01 0:00-0:53

[1:03-1:35] = Alternate and longer performance compared to OST 01 0:53-1:17 (0:32)

[1:35-2:23] = OST 01 1:17-2:06

[2:23-2:31] = UNRELEASED SECTION microedited out of the OST (0:08)

[2:31-3:12] = OST 01 2:06-2:45

[3:12-end] = Alternate and longer performance compared to OST 01 2:45-end (0:54)

 

2. The Auction (2:27)

[0:00-0:43] = OST 02 0:00-0:43

[0:43-1:09] = Alternate and longer performance compared to OST 02 0:43-0:59 (0:26)

[1:09-1:54] = OST 02 0:59-1:44

[1:54-end] = UNRELEASED CUE "The Auction (Alternate Ending)" (0:32) (unless of course, this is the original ending, and the album is a revision...)

 

3. Bringing Joey Home (2:35)

[0:00-1:26] = Alternate and longer performance compared to OST 03 0:00-1:20 (1:26)

[1:26-2:00] = OST 03 1:20-1:52

[2:00-end] = UNRELEASED ALTERNATE (0:35) - definitely different than OST 03 1:52-2:13!

 

4. Bonding With Joey (1:54)

[0:00-0:04] = UNRELEASED CLEAN OPENING (0:04)

[0:04-0:08] = OST 03 2:13-2:17

[0:08-0:11] = UNRELEASED SECTION microedited out of the OST (0:03)

[0:11-0:32]- = OST 03 2:17-2:38

[0:32-0:34] = UNRELEASED SECTION microedited out of the OST (0:02)

[0:34-0:58] = OST 03 2:38-3:02

[0:58-1:00] = UNRELEASED SECTION microedited out of the OST (0:02)

[1:00-1:47] = OST 03 3:02-3:48

[1:47-end] = UNRELEASED CLEAN ENDING (0:07)

 

5. The Whistling Montage (0:56)

[0:00-0:01] = UNRELEASED CLEAN OPENING (0:01)

[0:01-0:32] = OST 04 1:57-2:28

[0:32-end] = UNRELEASED SEGMENT not on the OST at all! (0:23)

 

6. Albert Defends Joey And Harnesses (3:07)

[0:00-1:48] = OST 05 0:00-1:42 (The OST has several microedits)

[1:48-end] = UNRELEASED SEGMENT not on the OST at all! (1:18)

 

7. Plowing (3:53)

[0:00-1:22] = UNRELEASED ALTERNATE - definitely different than OST 06 1:19-2:44 (1:22)

[1:22-end] = OST 06 2:44-end (The OST has several microedits)

 

8. Dad's Medals And Horse Vs Car (1:55)

[0:00-0:01] = UNRELEASED CLEAN OPENING (0:01)

[0:01-end] = OST 05 1:42-end

 

9. Leaving For France (1:47)

[0:00-0:01] = UNRELEASED CLEAN OPENING (0:01)

[0:01-1:36] = OST 07 1:52-end

[1:36-end] = UNRELEASED CLEAN ENDING (0:11)

 

10. The Charge (1:59)

[0:00-0:11] = UNRELEASED CLEAN OPENING (0:11)

[0:11-0:21] = OST 08 0:03-0:12

[0:21-0:23] = UNRELEASED SECTION microedited out of the OST (0:02)

[0:23-1:44] = OST 0:12-1:33

[1:44-1:44] = UNRELEASED SECTION microedited out of the OST (0:00)

[1:44-1:50] = OST 08 1:33-1:39

[1:50-end] = UNRELEASED CLEAN ENDING (0:09)

 

11. Surrounded And Captured (1:45)

[0:00-0:04] = UNRELEASED CLEAN OPENING (0:04)

[0:04-end] = OST 08 1:40-end

 

12. The Desertion (2:09)

[0:00-0:48] = Alternate and longer performance compared to OST 09 0:00-0:29 (0:48)

[0:48-1:47] = OST 09 0:29-1:28

[1:47-end] = UNRELEASED SEGMENT not on the OST at all (0:21)

 

13. Joey's New Friends (3:36)

[All] = OST 10 [ALL]

 

14. Pulling The Cannon (4:24)

[0:00-1:15] = Alternate and longer performance compared to OST 11 0:00-1:02 (1:15)

[1:15-2:13] = OST 11 1:02-1:59

[2:13-end] = OST 11 2:03-end

 

15. The Death Of Topthorn (2:51)

[0:00-2:41] = OST 12 [0:00-2:41]

[2:41-end] = UNRELEASED CLEAN ENDING (0:11)

 

16. The Dash Across No Man's Land (2:11)

[0:00-0:03] = UNRELEASED CLEAN OPENING (0:03)

[0:03-0:48] = OST 13 1:56-2:41

[0:48-0:54] = UNRELEASED INSERT (0:06) *POSSIBLY JUST A CLEVER EDIT?

[0:54-end] = OST 13 3:17-end

 

17. Approaching Trapped Joey (2:06)

[0:00-0:08] = UNRELEASED CLEAN OPENING (0:08)

[0:08-1:53 = OST 13 0:06-1:52

[1:53-end] = UNRELEASED CLEAN ENDING (0:13)

 

18. The Reunion (4:26)

[0:00-0:18] = UNRELEASED SEGMENT not on the OST at all (0:18)

[0:18-0:22] = This section is faded in on OST 14 0:00-0:18

[0:22-1:58] = OST 14 0:18-1:40 (OST is possible microedited here a few times)

[1:58-2:05] = UNRELEASED SECTION microedited out of the OST (0:07)

[2:05-2:40] = OST 14 1:40-2:16

[2:40-3:00] = UNRELEASED SECTION microedited out of the OST (0:20) (The OST edit that removes this is particularly awful)

[3:00-3:25] = OST 14 2:16-2:42

[3:25-3:40] = UNRELEASED ALTERNATE (0:15) - definitely different than OST 2:42-3:04 (0:15)

[3:40-4:05] = OST 14 2:42-3:30

[4:05-end] = OST 14 3:37-end

 

19. Remembering Emilie And Finale (5:14)

[0:00-0:46] = OST 15 0:00-0:46

[0:46-0:53] = UNRELEASED SECTION microedited out of the OST (0:07)

[0:53-end = OST 15 0:46-end]

 

20. End Credits (8:33)

(Didn’t have time to analyze this one)

 

 

So if my math is right, not counting the end credits (because I haven't analyzed them yet), there is about 7 1/2 minutes of music on the FYC that was not on the OST at all, and an additional 3 1/2 minutes of alternate performances of music that was on the OST.

 

 

EDIT: FYC End Credit analysis

[0:00-0:21] = UNRELEASED SEGMENT

[0:21-1:01] = OST 16 4:20-5:00

[1:01-1:38] = OST 16 5:18-5:55

[1:38-3:11] = OST 16 6:02-7:34

[3:11-3:17] = OST 16 7:50-7:59

[3:17-4:28] = OST 01 0:17-2:28

[4:28-4:56] = OST 16 0:32-1:01

[4:56-5:28] = OST 16 1:07-1:39

[5:28-6:48] = OST 16 2:26-3:34

[6:48-7:51] = OST 14 0:36-1:39

[7:51-end ] = OST 06 4:30-end

[Incanus 5,817]

Diligent and excellent work as usual Jason.

The break-down shows how all of the pieces have something missing on the OST. On the other hand the OST has some sections not included on the FYC promo. So the two complement each other better than say the Tintin FYC album and OST. And it is true that some of the pieces on the FYC are different takes of the material. To my ear some of them (e.g. The Dash Across No Man's Land) are just revised takes or possibly clever edits to conform to the picture.

[Jay 39,596]

The Dash Across No Man's Land is definitely the same exact music in both places except for the 6 second section on the FYC that replaces the 36 second section of the OST. I made sure to study the waveforms very closely and listen to several sections repeatedly to be sure. It's definitely not a completely different performance.

I would GUESS that the album version represents the original cut that conformed to the original version of the scene. Then Spielberg decided to remove a 30 second section of the scene and either WIlliams wrote an insert or the music editors looped and edited music to fit the new edit leaving most of the cue scoring what it was meant to. If I wasn't so tired I would study those 6 seconds more to prove it was an edit and not a true insert.

The music was edited around when Joey is in the trench just before he climbs up to the main surface area of No Man's Land. Perhaps in the original cut he did more things in the trench before escaping

[Incanus 5,817]

The Dash Across No Man's Land is definitely the same exact music in both places except for the 6 second section on the FYC that replaces the 36 second section of the OST. I made sure to study very closely the waveforms and listen to sections repeatedly to be sure. It's not a completely different performance.

I would GUESS that the album version represents the original cut that conformed to the original version of the scene. Then Spielberg decided to remove a 30 second section of the scene and either WIlliams wrote an insert or the music editors looped a edited music to fit the new edit leaving most of the cue scoring what it was meant to. If I wasn't so tired I would study those 6 seconds more to prove it was an edit and not a true insert.

Well I defer to your learned opinion. I did not study the track by anything else than my ear so I trust your judgement on this. Be it alternate take or insert I still prefer the OST version over it.

[Jay 39,596]

On a more general note, I think that for this film's OST was handled different than many of his OSTs, for example Tintin. With Tintin we seemed to get the exact film takes for the most part, though sometimes microedited. For War Horse, it almost seems like Williams recorded multiple takes of many cues, and the music editors went off and chose the ones to use for the film and WIlliams went off and chose the ones to use for the album without the two parties concerning themselves with what the other used. I wouldn't be surprised if for many scenes after Williams recorded the takes that met the exact onscreen sync points needed, Williams had the video screens turned off and recorded "wild" takes where the musicians could simply play freeform without the film timing restrictions and those takes were what WIlliams decided to use for the OST. The areas where this especially seems likely to me are the album opening of "The Desertion", the album ending of "Dartmoor", as well as parts of The Auction and Bringing Joey Home.

[Incanus 5,817]

Williams is always very conscious of the needs of an album release VS film, which is why he usually is concerned for the album as a separate entity (like most film composers) and likes to choose tracks and edit them so that they sound best to him musically and as a programme, like in a concert. The film take of a cue might work for the film but JW might think that by microediting a bit out of here and there it can be made more fluid or musical or he might choose an earlier musically or performance wise better take for the album instead the film version, much to the frustration of the fans of course.

[TownerFan 5,237]

For War Horse, it almost seems like Williams recorded multiple takes of many cues, and the music editors went off and chose the ones to use for the film and WIlliams went off and chose the ones to use for the album without the two parties concerning themselves with what the other used.

I think it's the other way around (Williams chose the takes for the film and the music editors the ones for the album), but I guess Williams had a word for the OST as well. However, in the official EPK interview Williams clearly says that the performance for this score was something quite important to get exactly right. I guess there are a lot of alternates lying around on the cutting room floor

On a sidenote, I think it's possibile to create an expanded edit of the score using both the OST and the FYC, but it's a job that requires time to study and analyze carefully both CDs before attempting at it.

Also, did someone else noticed that the FYC sounds a tad better than the OST? I listened to it only once, but it seems there's less artificial reverb added and a dryer, leaner sound which seems more natural.

[Richard P 4,214]

My mind has gone back and forth several times about either merging the two sets, or keeping them separate.

The problem is that most of it seems to be, at its most basic, difference performances of the same material, but it seems very weird to have essentially two albums of the same score.

I'm probably leaning towards this though, because if you tried merging the two, filling in the FYC gaps using the OST, then it's going to mix alternate version material into an otherwise film version cue. It would probably sound fine, but somehow unsatisfactory for the inner geek in me.

But then if you wanted to listen to the album you've got to decide which one...

But great work on the analysis Jay And to save you too much deliberation over the credits: it's basically a different piece of music. Too much stuff has been moved around or tracked from other cues. Crap knows why they did this... length maybe, and Williams didn't want to record a new one?

[Jay 39,596]

There's less alternate performances than it may seem, as I pointed out above only 3 minutes worth.

I'll be posting my recipe for making an expanded score out of the two CDs later on today. I'll be favoring the FYC whenever possible as it generally sounds better and features the film versions of cues anyway. The album versions alternates will make up an optional bonus section.

[TownerFan 5,237]

But great work on the analysis Jay And to save you too much deliberation over the credits: it's basically a different piece of music. Too much stuff has been moved around or tracked from other cues. Crap knows why they did this... length maybe, and Williams didn't want to record a new one?

The film's End Credits seems an editorial job made up of "The Homecoming", "Dartmoor", "The Reunion" and other pieces.

As I said in one of the TIntin threads, I guess Williams doesn't have the finalized end credit reel at his disposal when he writes the score. He probably has a rough timing and he writes one or two pieces in concert-like arrangement that could be used for the purpose and then leaves the decision to the sound mixers/music editors on how to use it. In the case of War Horse, I think he wrote "The Homecoming" as a concert suite specifically for the album (and I'm sure he will also use it for future concert performances), but also as end credits music.

[Jay 39,596]

I'll still go through it second by second and find where all the pieces came from as well as what parts are not on the OST. I just was falling asleep at the keyboard last night so couldn't do it then.

[SF1_freeze 136]

Strange that in both cases of Tintin and WH the FYC promos sounds better than the album counterparts...

[Jay 39,596]

The UE of TPM sounds better than its OST too.

It's like the recording engineer makes great mixes that are used in the films, but after Williams arranges his OST they do some tinkering to the sound that results in it sounding not as good. This has been a problem forever, compare the muddled sound of the Star Wars LP compared to the 1997 SE discs. Hook has the same problem as well.

[SF1_freeze 136]

True, only the labels seem to be able to get widely accepted references in sound quality. It will be interesting if they will also be able to improve upon the sound qualities of such already great sounding FYC promos when they will be released in complete presentations 10-20 years from now on...

The TPM UE mix is probably the best orchestral mix for any score i have ever heard... and the TPM album is a real letdown in comparison

In my opinion the most glaring differences between the FYC and the OST releases often can be found in reduced bass frequencies for the albums. Of course there is also the added reverb for most album releases. Strangely there are some odd exceptions too.

In the albums "No Man's land" track the bass BOOOMS are much more prominent than on the FYC film version of the cue. Therefore i prefer the album version for this cue...

[TownerFan 5,237]

I think the problem with the OSTs is mainly compression (i.e. loudness), which takes out dynamic range. This is a real plague for the recording industry since the beginning of the century. Of course an album like War Horse still sounds natural even with these little artifacts when compared to contemporary rock/pop albums, but when you hear the music without these tinkerings you notice there's much more in it (it was quite clear also in the HPPS recording sessions).

[Jay 39,596]

Agreed. Both Tintin and War Horse suffer from so much compression they sound like mp3s in parts.

I'm glad we spent money on the FYCs. I just wish they had included more music!

[Incanus 5,817]

Agreed. Both Tintin and War Horse suffer from so much compression they sound like mp3s in parts.

I'm glad we spent money on the FYCs. I just wish they had included more music!

Yup the FYC CDs definitely sound better than the OSTs.

And Williams should be a hungry young composer out to make name for himself so he would promote himself with double FYC CD sets.

[Jay 39,596]

Even if the War Horse FYC disc had included ALL the cues that were on the OST it would have been nice. Then we'd get To The Auction, The Duck, the lead-in cues for Whistling Montage and Plowing, Ruined Crop, and The Execution. Of course, it would be even better it if contained wholly unreleased cues like The Package or Over The Hill

[Datameister 2,282]

I think the problem with the OSTs is mainly compression (i.e. loudness), which takes out dynamic range. This is a real plague for the recording industry since the beginning of the century. Of course an album like War Horse still sounds natural even with these little artifacts when compared to contemporary rock/pop albums, but when you hear the music without these tinkerings you notice there's much more in it (it was quite clear also in the HPPS recording sessions).

I've never had a problem with the degree of compression on most soundtrack albums. If the dynamic range is wider, I just end up riding the volume control with my finger anyhow...I'm essentially applying compression manually every time I listen. As long as the compression is handled tastefully, it's not a problem for me.

And Jason, the mp3-ish sound wouldn't be a result of this type of compression...we're talking about making the loud parts softer and the soft parts louder, which can definitely sound bad in excess, but it wouldn't produce the weird mp3-ish artifacts you hear in a few parts of both scores. I don't know why those are there, but it makes me really sad.

[Jay 39,596]

Hmm ok. The mp3-ish sounds seemed to occur when something like a high pitched horn note was played really loud, so I figured they were related.

At least we have the FYC for a better version of just about every cue that was selected for the OST.

[Datameister 2,282]

Yeah, those are the moments when it's noticeable. I guess it's possible that it could have caused it somehow, but I've never heard of that happening before.

[TownerFan 5,237]

Of course compression is not bad per se. If used gently and with intelligence, it could help to have a consistent sound without giving out dynamic range. Williams' album in general don't suffer from heavy compression and in fact both War Horse and Tintin OSTs sound pretty great compared to many orchestral film scores of today. But there are a few little artifacts here and there.

[Datameister 2,282]

Faire nough. I'm curious - do you (or anyone else) think the parts that sound like lossy compression artifacts could have been caused by dynamic range compression?

[Jay 39,596]

Beats me, i'm no expert at that stuff

[Turbo 62]

I'm glad we spent money on the FYCs. I just wish they had included more music!

We? If I would have known a collection was being taken, I would have gladly contributed.

[Incanus 5,817]

Seeing the film and listening to the FYC made appreciate this score even more than I did before. Even the intense listening over the past few months has not diminished my appreciation. And hearing more music from the film in the form of FYC was a great and delightful surprise, something I did not even dare to dream of. We can complain about the missing material in both Tintin's and War Horse's case but the fact is that this is more than we got from previous Williams' scores in such a short time after the release of the film and OST.