ATTACK OF THE CLONES FULL CD REVIEW
Paul Tonks
Sony Classical
TRT: 77:06
This review tasks me. It tasks me, but I shall do it.
When I played The Phantom Menace (TPM) for the first time, it was with 15
years of expectation and uncertainty. I had little idea what the film was
actually about. So at the time, the jollity of Jar Jar, Threepio, kids
playing etc left me confused. Where was the big bad in all this music? Of
course, I then learned just how much of a cut & paste job had been
perpetrated on Williams' score both in the film & then on album. In time, I
came to appreciate it enormously however.
Three years later, I feel overwhelmed with information about Attack of the
Clones (AOTC). I've seen the trailers, photos, & even a review or two. But
you know what? Until you hear this score, nothing else you see or read prior
to watching the movie is going to reveal to you what this film is REALLY
about.
The "tasking" I refer to above is generated by a few things. As per usual
for Williams, this isn't your typical score album made up of short cues
easily encapsulated by a one sentence review. One track clocks in at 1:44,
but the next shortest is 3:07. They then stretch to anything up to 11:07!
The point of highlighting this is that apart from the self-contained "Across
the Stars", no single cue is representative of one single scene & thereby
any single tone or style.
In fact, most cues play out in glorious style-shifting chaos. That's great
to listen to, but a butt-wrigglingly tough job to comprehensively review. I
can't speak for what other folks' expectations of this music may be. But if
you're unprepared for the chaotic action material it may be hard for some
listeners to reconcile with the gorgeously old-fashioned (and thereby
universally accessible) "Love Theme" material.
This last is "what this film is REALLY about." Since it is the much talked
about 'single'. Since it's sequenced second (as was "Duel of the Fates"), I'
ve decided amend my review's order in the same way most listeners will want
to re-order the album. Track 2 is covered last - which nicely allows me to
summarize my theory of the music then. Track 14, the "Bonus Track", is
covered at the correct time in-between 11 & 12.
Finally, before my review begins (yes I know - get on with it), the reader /
listener should also prepare themselves for the very real likelihood that
this album will be drastically different from the film's presentation of the
music. Like the first TPM album, there may be new bridging material here,
edits galore (I indicate where I believe some can be heard), & even passages
without their choral overlays as there were for Darth Maul.
And so to the meat of things. Potential Bummer # 1 - there's no 20th Century
Fox Fanfare. Mind you, for those really paying attention, there's no use of
the themes for Threepio, Palpatine, Boba Fett (from Empire), & Anakin's only
appears at the very end.
01. Star Wars Main Title And Ambush On Coruscant (03:46)
Snare drums are very prominent throughout. Otherwise this is a trad. play
through of the opening scrawl. As it should be. Surprise # 1 is the exact
same segue used in TPM in moving from the scrawl into the action. We then
experience an extremely sinister return to the Coruscant material of TPM.
There's nothing welcoming here at all. And at 2:07 is that not a hint of the
first few notes of "The Imperial March"? This is closely followed at 3:00 by
an introductory first few notes of the "Love Theme". Taken in context and
with the hindsight of (many) repeat plays, this is an early indication that
it stands for far more than just a couple's romance.
03. Zam The Assassin And The Chase Through Coruscant (11:07)
Drums, drums, drums. This reviewer's personal favourite cue from the whole
album. A preference formulated for numerous reasons, one of which being that
it doesn't touch upon any previously established thematic material.
Now to Surprise # 2. Lucas really liked Crouching Tiger, Hidden Dragon and
said so in the press. Zam is a veiled assassin, looking more colourful, yet
very similar to Jen Yu / Xiou Long (Zhang Ziyi) in CT,HD. Are you going to
have a problem with the possibility that Lucas liked it so much he asked
Williams to emulate one of the most popular pieces of music from Tan Dun's
score ("Night Fight")? If so, tough! At the following time indexes in this
11-minute masterpiece you'll hear the result of his appreciation for the
film - the log drumming occurs at: 2:19, 4:20, 5:13, & 7:53.
And then there's potentially the most controversial new addition to the Star
Wars musical palette. Surprise # 3 - the electric guitar. Is it for Zam? The
Club? Anakin's cocky cool? Or is Obi Wan doing secret little Bill & Ted air
guitar moments? It isn't playing a theme. If anything it suggests an extra
layer to the chaos of this relentless action music. You'll hear it plummet
downwards as the music 'mickey-mouses' one of the dips & dives in the chase
seen repeatedly in the trailers. Lots of high-end brass screams are used in
amongst the numerous descriptions of descent. So watch those speakers.
Also in this cue is a recurring phrase that took me a while to place.
Ultimately I've decided the nagging familiarity reminds me of the Sesame
Street Newsflash jingle. You'll hear it at the first appearance of the
guitar, whose time index appearances are: 3:17, 3:30, & 5:13.
There's finally some respite at the 8&½ minute mark, sliding downwards into
sinister passages that recall Han & Leia's walk inside Empire's asteroid
space slug.
After all that breathless sensory assault is a well-placed soothing balm
administered by -
04. Yoda And The Younglings (03:55)
This is as sweet as you'll get on the album. It's warm & friendly. A moment
refers to the kids playing around Anakin's Pod in TPM. The" Love Theme"
appears tentatively at the cue's start, and then more brightly assertive at
its end. In-between is a pleasant trad. statement of "Yoda's Theme" on
flute.
Surprise # 4 is a segment for wordless female choir that thankfully stays
just the right side of maudlin. As with many subtler sections of the score,
the harpist is given a LOT to do. And here "The Force Theme" makes its first
appearance, but only its first half. Like many of the themes we're familiar
with, it's some time before you'll hear it fully resolved.
05. Departing Coruscant (01:44)
The album's quickie cue is notable for one thing alone - a subtle inclusion
of the less quirky counterpoint to "Jar Jar's Theme". Quick appearances by
parts of the "Love" & "Force" themes build to an exultant crescendo that
would indicate this is a graceful departure from the Capital.
06. Anakin And Padme 03:56
After the Yoda cue, this is the sweetest presentation of the "Love"
material. A slow use of keyboard might cock a few ears into intrigue. The
subsequent flute and chimes are a more predictable route of course. Overall
this is slow & ponderous. But with a brassy explosive finale. Yay!
07. Jango's Escape (03:48)
For all Williams' concerns about sequencing an album, it surprises me this
cue wasn't swapped with the next. We're plummeted back into full-on action
characterised by thumping drum and clanging bell combinations. Fett doesn't
appear to have anything musically belonging to him. Instead this is fight
music that occasionally borders on teeth-grittingly sustained suspense.
Surprise # 5 however makes this a significant cue, when at the 3:08 mark the
piece goes all Arabic, followed by a Medieval fade out.
08. The Meadow Picnic (4:14)
Shimmering back to the flittering and playful "Love" tale you should see
what I mean about the previous track seeming out of place. This is initially
a quite lovely pause for rolling hills and cascading falls, and builds
jubilantly into the "Love Theme". But then courtesy of the score's first
signs of being influenced by the dark side of Bernard Herrmann, everything
slips uncomfortably away into shadow. Here we encounter a recurring motif
that rolls round and around itself. A spiralling maelstrom of doom. Folks,
it's Herrmann's Vertigo counterpoint. How very appropriate.
09. Bounty Hunters Pursuit (3:23)
Talking of Herrmann, buried within this initially rough & tumble cue are
some of the most blatant Herrmannesque moments (also a possible edit at
1:00). This is of course not without precedent, since A New Hope features a
quote from Psycho when the gang climb out of the Millennium Falcon's secret
hidey-holes. The finale is a snappy build-up into a complete re-statement of
the "Federation March" from TPM. But it gets cut off real quick. Another
edit? Whatever the reason, some listeners may feel it's an unfairly short
appearance smacking of token inclusion.
10. Return To Tatooine (6:56)
And a return to some of the underscore that followed Qui-Gon & co walking
around Mos Espa in TPM. Then there's that Vertigo spiral phrase once more.
Anakin's destiny is seemingly rushing to meet him. To prove that point, at
3:10 the "Force Theme" swells into a reprise fans will truly appreciate. But
it too is abruptly cut off. Possibly a cross-fade edit, but then - what's
this? Why a hard-as-nails (pounding piano) blast of "Duel of the Fates". It
is similarly truncated, possibly contains one new lyric ("eelah"), but it's
in & out so fast (& doesn't re-appear again) so you may wonder if you
hallucinated the moment! And the uncomfortable finale "Love Theme"
appearance will have you wondering even more whether there's actually been
any levity before this.
11. The Tusken Camp And The Homestead (5:54)
Sure enough the overwhelming sense of discomfort continues. A click-click
from woodblocks is sustained for 45 seconds. You'll feel yourself counted
into the pure evil of what Anakin is setting out to do (no spoilers here!) A
swell into greater urgency ratchets the tension ever higher. Pounding drums
beneath very subtle variants of "The Imperial March" should genuinely creep
you out. As male chorus intones menacingly, this is a significant moment in
Anakin's fall.
For a score that's heavily into drumming, this surprisingly doesn't re-visit
the terrific material of A New Hope (i.e. when the Tusken Raider mounts the
Bantha). Oh, & an anxious outburst midway again recalls Herrmann.
14. On The Conveyor Belt [Bonus Track] (03:07)
Bonus schmonus. This belongs here between 11 & 12. Either someone screwed up
the sequencing (unlikely) or someone in Marketing thought they'd need "Bonus
Track" plastered on the packaging to make it sell! It's perky, percy, &
rather fun. Really it contains the only moments of genuine levity to be
found on the album. Sequenced last, it does end the disc on an enormous bang
however.
12. Love Pledge And The Arena (8:29)
"Across the Stars" is the concert arrangement 'single' of the "Love Theme"
as used in this scene. Listen carefully for the first gentle harpsichord
accompaniment. The significance of which will become apparent below. This
material lasts for just under 2 minutes. And then -
"Advance!" "Incoming!" Like a tidal wave drawing inexorably closer, the
drums build in accumulative fashion into what I'm dubbing the "Clone March".
Closely related to the "Federation March", this makes for a terrific bridge
into its obvious eventual metamorphosis as the "Imperial March". There's a
nice homage to Miklós Rózsa at work too for fans seeking out further
influences.
Surprise moments include a 'hero' variant of the "Love Theme", a keyboard
solo at 3:45, & what sounds for all the world like a hearkening back to the
Death Star at 5:00.
13. Confrontation With Count Dooku And Finale (10:48)
This may well be many folks' favourite cue, featuring what it does. After a
dramatic statement of the "Force Theme", there's a beautiful contribution
from wordless female chorus. Then the best among them is given the spotlight
for the saga's first use of solo soprano (a possible edit sits just before).
Shifting eerily (and forgive me, but recalling elements of Raiders), the
score then pays off one musical event we knew was coming. At 3:00 the Empire
is born. This is a truly impressive full use of the "Imperial March". But
what makes the moment even more powerful is a crash straight into the "Love
Theme". Talk about your opposites attracting. Again, no spoilers here, but
if you know what event the film ends on, this makes blissfully, tragically
perfect sense.
Just as the emotional weight of it becomes all-too Empire Strikes Back, the
trad. crash into the End Credits ends things just the way it should.
I'm pleased to say there's a nicer segue than TPM into Williams' reprise of
the score's most important material. "Across the Stars" is played out in all
its glory, followed by Surprise # 6 with a harpsichord rendition. See below
for explanation.
Your movie-going experience will end starting at 9:41 with the only
appearance of "Anakin's Theme". In being combined with the "Imperial March"
and "Love Theme", this stunningly complex work tickles you with the horror
of what awaits Skywalker Senior.
02. Across The Stars [Love Theme] (05:33)
And so to the piece Lucas needed most. And to my conclusion of "what this
film is REALLY about."
The gentle introduction is a necessary slow-burn of emotion, but cannot
express the theme's real purpose. Only in its second statement on strings
will you begin to realise what the motif is designed for. There isn't
anything upbeat about it. This isn't a warm or joyous celebration of love.
It's a warning that Anakin & Padme's relationship will be disastrous. At
2:30 a downturn in tone hammers that home. Those that look for it will find
a link into the Federation / Imperial material (& again at 4:25). But
surging back up into the "Love" motif, the sentimental listener must prepare
themselves for the grand statements. These are as powerfully majestic as the
"Force Theme".
What this power has been needed for, why it appears so regularly throughout
the score in frequently un-romantic form is simply this -
This is George Lucas' Romeo & Juliet.
It is the classic doomed love affair, and like the best work of the best
composers to tackle the Shakespearean tragedy, this theme is romantically
'wrong'. It's a pessimistically unhappy tune, and therefore PERFECT.
Especially when trickled out on harpsichord at the very end.
Ladies & gentlemen - "Star-crossed lovers" / "Across the Stars" - you do the
Maths.
PAUL "THE PROF" TONKS
Jostein Hakestad
at pto...@ntlworld.com wrote on 27.03.02 14:58:
> STAR WARS EPISODE II: ATTACK OF THE CLONES
> Sony Classical
> TRT: 77:06
>
> This review tasks me. It tasks me, but I shall do it.
[...]
I loved reading this! Great stuff, Paul!
--
Jostein H
Jason L Blalock
"Paul Tonks" <pto...@ntlworld.com> wrote in message
news:Ofko8.3339$914.7...@news2-win.server.ntlworld.com...
> STAR WARS EPISODE II: ATTACK OF THE CLONES
> Sony Classical
> TRT: 77:06
>
> This review tasks me. It tasks me, but I shall do it.
(snippy)
I've only listened to it (whole thing) a couple times now, but my first
impressions of it were the lowest of any Star Wars score. It's funny, I was
actually complaining that TPM wasn't thematic enough. This one is downright
thematically devoid, which is rather strange, considering that these are
theoretically leitmotif scores. Has Williams forgotten how to write a
motif-based score? It would require actually playing themes more than once
or twice... (besides, of course, the Love Theme... I felt like I was being
hammered over the head by it.)
And I really don't like the direction he took with the action tracks. The
sort of postmodern way of doing them works superficially and raises tension,
but I think is far less effective overall than building them with some
comprehensible structure. Look at, say, The Asteroid Belt or Into the Trap.
Incredibly exciting cues built around one or two short central motives. And
the guitar? WTF! Sounds like frelling Batman Beyond.
Moreover, and probably worst, is simply, there was nothing on here that
moved me in the least. It seemed like a pure succession of sound going by
me, and seemed almost deliberately trying to keep me distanced from it at
all points. I have no doubt that the composition is very technically
advanced, but I felt like it had no heart.
It does, at least, redeem itself towards the end. Tracks 12 and 13 at
least come closer to getting back to the good stuff, and the slow
reintroduction of the Imperial March is nice. And I really don't get the
token reappearances of the Federation March and DOTF. The latter sounds, in
the music, extremely gratuitious. (I am extremely curious what accompanies
that in the film...) And I love the way the end credits end - and we
thought the finale of TPM was creepy!
At the moment, I'm praying that this CD turns out to be as badly-mangled
as TPM's was. That they decided to build the album out of all the biggest
moments instead of the best. That I'll see the movie and it'll have a score
that actually SOUNDS like a Star Wars Score. For most of it, this just
sounds like Williams going nuts with an orchestra. It doesn't sound like
Star Wars.
--
Jay
Scoreland Soundtrack Reviews
http://www.crosswinds.net/~scoreland/
Jason L Blalock
"Jostein Hakestad" <au...@online.no> wrote in message
news:B8C792BA.1EAC1%au...@online.no...
Give in to your desire... It is inevitable... It is your destiny.
Jostein Hakestad
Blalock at WIZ...@prodigy.net wrote on 27.03.02 18:13:
>
> Give in to your desire... It is inevitable... It is your destiny.
>
>
Yeah, but I'm still going to wait until I can BUY the CD.
--
Jostein H
Mr Tasslehoff
*hands Mr. Guttke a tissue*
-- Tasslehoff Burrfoot, Hero of the Lance
M.R.E.
<WIZ...@prodigy.net> wrote:
>...token reappearances of the Federation March and DOTF. The latter sounds, in
>the music, extremely gratuitious. (I am extremely curious what accompanies
>that in the film...) And I love the way the end credits end - and we
>thought the finale of TPM was creepy!
I can figure out that TPM is "The Phantom Menace"... considering this
is a StarWars-related post.
But I'm lost as to what a DOTF is.
<sigh>
When will StarWars geeks learn that people with lives DON'T know every
abreviation to every cue from every StarWars and StarTrek soundtrack?
--
Michel R. Edward
compositeur
Hercule Platini
M.R.E. <qcco...@videotron.ca> wrote in message
news:3ca229cd...@news.videotron.ca...
> On Wed, 27 Mar 2002 16:57:11 GMT, "Jason L Blalock"
> <WIZ...@prodigy.net> wrote:
> >...token reappearances of the Federation March and DOTF. The latter
sounds, in
> >the music, extremely gratuitious. (I am extremely curious what
accompanies
> >that in the film...) And I love the way the end credits end - and we
> >thought the finale of TPM was creepy!
>
> I can figure out that TPM is "The Phantom Menace"... considering this
> is a StarWars-related post.
> But I'm lost as to what a DOTF is.
Duel of the Fates.
--
Richard Street - stre...@btinternetAARDVARK.com
Jason L Blalock
> is a StarWars-related post.
> But I'm lost as to what a DOTF is.
> <sigh>
> When will StarWars geeks learn that people with lives DON'T know every
> abreviation to every cue from every StarWars and StarTrek soundtrack?
>
Sorry. I'd only had one cup of coffee at that point. Duel of the Fates.
ymenard
Well that is an important question. As I was writing somewhere else,
perhaps he has evolved? Perhaps he simply doesn't want to score it like his
80's style? Really, when was the last real motif-based score? Hook, I
guess. Or perhaps, Jurassic Park to a certain extent. JP was the last
score with real distinctive set pieces. I know that TPM wasn't received
quite well by many, mostly because it was seen as out the style people were
expecting a Star Wars movie to be scored. I don't think those set pieces
are much important anymore. Yes, they were incredibly exciting, but no I
don't think it's necessary anymore. Johnny certainly thinks so, from what I
read.
Old Williams : Leitmotiv action cues, chaotic underscoring, set pieces.
"New style" : Chaotic action cues, underscoring with leitmotiv, chaotic set
pieces
I'm generalising here, but there's some basic truth. Heck, I could almost
say that his older scores, say pre-Star Wars, are quite like his new style
that he started at the start of the 90's.
> Look at, say, The Asteroid Belt or Into the Trap. Incredibly exciting
cues built around one or two
> short central motives.
Yes, like I wrote above the famous "set pieces", present in the 80's. There
must be a personal reason for why you don't see them anymore. I doubt it's
because of lazyness.
--
-- François Ménard <ymenard>
-- http://www.ymenard.8m.com/
-- This announcement is brought to you by the Shimato Dominguez
Corporation - helping America into the New World...
Nicholas Buenk
"Jason L Blalock" <WIZ...@prodigy.net> wrote in message
news:HRmo8.1006$jo4.17...@newssvr16.news.prodigy.com...
>
> "Paul Tonks" <pto...@ntlworld.com> wrote in message
> news:Ofko8.3339$914.7...@news2-win.server.ntlworld.com...
> > STAR WARS EPISODE II: ATTACK OF THE CLONES
> > Sony Classical
> > TRT: 77:06
> >
> > This review tasks me. It tasks me, but I shall do it.
>
> (snippy)
>
> I've only listened to it (whole thing) a couple times now, but my first
> impressions of it were the lowest of any Star Wars score. It's funny, I
was
> actually complaining that TPM wasn't thematic enough. This one is
downright
> thematically devoid, which is rather strange, considering that these are
> theoretically leitmotif scores. Has Williams forgotten how to write a
> motif-based score? It would require actually playing themes more than
once
> or twice... (besides, of course, the Love Theme... I felt like I was
being
> hammered over the head by it.)
I suggest you wait for the film. We only have some of the score, there might
be re-occuring themes that we haven't found or noticed as leitmotif themes
yet.
MoonTrekker
"Nicholas Buenk" <Ni...@NonSPAMtig.com.au> wrote in message
news:3ca31801$0$11454$afc3...@news.optusnet.com.au...
I havent heard this yet mabye I should wait until I do,
however in Johns defence , he has written many many many scores lately and
this is his 5th star wars movie.
I suppose like anything to come up with a different score for each movie is
not an easy task.Lets not forget his genius and most of his work is very
very good.OK so his score for ATOC isnt Jedi or Empire(my fav). But you must
admit to score 6 movies related to one theme, ie the Star Wars saga, I cant
imagine comming up with that much music thats different every time, and you
must admit when you hear the classic SW theme during a chase scene or a
fight you cry with delight and say go , go , go John.
Good Listening
Jostein Hakestad
MoonTrekker at moont...@worldnet.att.net wrote on 28.03.02 15:42:
> I havent heard this yet mabye I should wait until I do,
> however in Johns defence , he has written many many many scores lately and
> this is his 5th star wars movie.
> I suppose like anything to come up with a different score for each movie is
> not an easy task.Lets not forget his genius and most of his work is very
> very good.OK so his score for ATOC isnt Jedi or Empire(my fav). But you must
> admit to score 6 movies related to one theme, ie the Star Wars saga, I cant
> imagine comming up with that much music thats different every time, and you
> must admit when you hear the classic SW theme during a chase scene or a
> fight you cry with delight and say go , go , go John.
> Good Listening
>
>
You should have all waited for the CD instead of downloading it.
--
Jostein H
MoonTrekker
Moontrekker
Unfortuantly , most people cant wait and if there is a way to get something
early they will.
and to be fair Im guilty of it as well.
May the Force.........
Later
Jostein Hakestad
MoonTrekker at moont...@worldnet.att.net wrote on 28.03.02 16:26:
>
> Moontrekker
> Unfortuantly , most people cant wait and if there is a way to get something
> early they will.
> and to be fair Im guilty of it as well.
> May the Force.........
> Later
Believe me, I understand that it's difficult to wait :-). But *I* just
don't want to ruin the experience for myself by listening to MP3's before I
buy the CD.
--
Jostein H
Øyvind Bjugan
Jostein Hakestad skrev i meldingen ...
>You should have all waited for the CD instead of downloading it.
Because the CD is different how?????
Except for quality.
I´m glad I downloaded it. Sweet stuff.
The CD just means I can play it in my room or car.
Řyvind
MoonTrekker
That's Cool.
Moontrekker
Jostein Hakestad
her...@online.no wrote on 28.03.02 17:16:
>
> Because the CD is different how?????
> Except for quality.
Except for quality, yes.
I'm just a bit alarmed by this trend. That a CD can be up on the internet 4
weeks before it's released.
Oh well, the world is changing and there's little people can do about it :-)
>
> I´m glad I downloaded it. Sweet stuff.
> The CD just means I can play it in my room or car.
I'm really happy that people like the music. It's just further proof that
John Williams is to film music what Yoda is to the Jedi. The Master.
--
Jostein H
Joshua Kaufman
Why? It'll be the same in a month as it is now.
-Joshua
--
AOL-IM: TerraEpon ICQ: 5404138
Joshua Kaufman
>
> in article PlHo8.17693$TU3.4...@news4.ulv.nextra.no, Øyvind Bjugan at
> her...@online.no wrote on 28.03.02 17:16:
>
> >
> > Because the CD is different how?????
> > Except for quality.
>
> Except for quality, yes.
>
> I'm just a bit alarmed by this trend. That a CD can be up on the internet 4
> weeks before it's released.
>
LOTR was about two weeks, IIRC. But it's because Sony sent out a promo
as early as they did. Still, IMO it's really NOT that big a deal,
because I can't see not buying it who would have had they had to wait
until later.
M.R.E.
wrote:
>
>Believe me, I understand that it's difficult to wait :-). But *I* just
>don't want to ruin the experience for myself by listening to MP3's before I
>buy the CD.
I wish I KNEW where to download the MP3s... I'd rather hear it before
buying it! That way, if I hated it I could just erase it!
Jostein Hakestad
qcco...@videotron.ca wrote on 28.03.02 21:50:
>
> I wish I KNEW where to download the MP3s... I'd rather hear it before
> buying it! That way, if I hated it I could just erase it!
>
This is Star Wars we're talking about, you can't *hate* Star Wars!
Unless you're from Minnesota.
--
Jostein H
Robert John Guttke
wrote:
Much like the memory of TPM after I had rented and watched
it...........
Yippee!!!!!!!!!!!
Robert John Guttke Photography
www.guttke.com
Robert John Guttke
wrote:
>in article 3ca381e2...@news.videotron.ca, M.R.E. at
Ahhhhhhhhhhhhhhhhhhhhhhhhhhhh! Just like an orgasm, that
was!!!!!!!!!!!!!!
Jostein Hakestad
gut...@junohatestarwars.com wrote on 28.03.02 19:13:
>
> Ahhhhhhhhhhhhhhhhhhhhhhhhhhhh! Just like an orgasm, that
> was!!!!!!!!!!!!!!
>
And now, over to something completely different.
--
Jostein H
Jostein Hakestad
gut...@junohatestarwars.com wrote on 28.03.02 19:12:
>
> Much like the memory of TPM after I had rented and watched
> it...........
>
>
> Yippee!!!!!!!!!!!
>
That's gotta hurt!
--
Jostein H
Joshua Kaufman
One place is alt.binaries.mp3.soundtracks, if your server carries it.
Mr Tasslehoff
A butcher of sentence structure?
David Stoward
"Øyvind Bjugan" wrote:
> Jostein Hakestad skrev i meldingen ...
> >You should have all waited for the CD instead of downloading it.
>
> Because the CD is different how?????
> Except for quality.
Aside from questions of legality, yes quality. MP3s encoded at even the
higher bitrates do not sound as good as the original source, even burnt
to audio CD and played on a good stereo system. Fine for playing through
the cheap headphones or on computer speakers, and adequate on a good
stereo, but nowhere near the dynamic range and clean top end of the
original...
Jostien is right to wait for the CD if he wants to hear this score in
all its glory:-)
David
>
>
> I´m glad I downloaded it. Sweet stuff.
> The CD just means I can play it in my room or car.
>
> Øyvind
Øyvind Bjugan
David Stoward skrev i meldingen <3CAAFB6C...@adelaide.edu.au>...
>
>
>"Øyvind Bjugan" wrote:
>
>> Jostein Hakestad skrev i meldingen ...
>> >You should have all waited for the CD instead of downloading it.
>>
>> Because the CD is different how?????
>> Except for quality.
>
>Aside from questions of legality, yes quality. MP3s encoded at even the
>higher bitrates do not sound as good as the original source, even burnt
>to audio CD and played on a good stereo system. Fine for playing through
>the cheap headphones or on computer speakers, and adequate on a good
>stereo, but nowhere near the dynamic range and clean top end of the
>original...
And in your world "except" means what??
I did say "except for quality", meaning "any reasons other than that".
Øyvind
David Stoward
i understood your post perfectly thanks.
cheers
David
Joshua Kaufman
>
> i understood your post perfectly thanks.
>
Then you obvioudly are an idiot.
David Stoward
>
> i understood your post perfectly thanks.
ps. i was simply pointing out that quality is important. You wanted to
know how the MP3s were different to the CD, aside from quality. Well, to
me (and others i'm sure) quality is one of the most important criteria.
Other ways the MP3s are different to the original besides sounding
crappy?
-they're ILLEGAL unless you own the CD (doh)
-no royalties etc. get paid
-no glossy inserts, liner notes etc.
Depending on your morals (or lack thereof) these may or may not be an
issue;-)
cheers
David
Øyvind Bjugan
David Stoward skrev i meldingen <3CABB18E...@adelaide.edu.au>...
>-they're ILLEGAL unless you own the CD (doh)
The CD isn´t out yet.
>-no royalties etc. get paid
The CD isn´t out yet.
>-no glossy inserts, liner notes etc.
The CD isn´t out yet.
>Depending on your morals (or lack thereof) these may or may not be an
>issue;-)
Morals????
Whatever do you mean?
=)
Øyvind
David Stoward
so you're saying the CD isn't out yet? Did i read that right?
must be OK to download the MP3s then;-)
now, i just need to FIND the blasted things...hehe
Øyvind Bjugan
David Stoward skrev i meldingen <3CAC1061...@adelaide.edu.au>...
>so you're saying the CD isn't out yet? Did i read that right?
Something like that =)
>must be OK to download the MP3s then;-)
It´s allways OK to download MP3s as long as you buy the CD when you come
across it.
If I can´t find a CD or I want to hear if it´s any good I download it.
If they can´t make a CD avaliable in a store near me I say screw `em.
>now, i just need to FIND the blasted things...hehe
Řyvind
Nicholas Buenk
"David Stoward" <david....@adelaide.edu.au> wrote in message
news:3CABB18E...@adelaide.edu.au...
> David Stoward wrote:
> >
> > "Øyvind Bjugan" wrote:
> > >
> > > David Stoward skrev i meldingen <3CAAFB6C...@adelaide.edu.au>...
> > > >
> > > >
> > > >"Øyvind Bjugan" wrote:
> > > >
> > > >> Jostein Hakestad skrev i meldingen ...
> > > >> >You should have all waited for the CD instead of downloading it.
> > > >>
> > > >> Because the CD is different how?????
> > > >> Except for quality.
> > > >
> > > >Aside from questions of legality, yes quality. MP3s encoded at even
the
> > > >higher bitrates do not sound as good as the original source, even
burnt
> > > >to audio CD and played on a good stereo system. Fine for playing
through
> > > >the cheap headphones or on computer speakers, and adequate on a good
> > > >stereo, but nowhere near the dynamic range and clean top end of the
> > > >original...
> > >
> > > And in your world "except" means what??
> > >
> > > I did say "except for quality", meaning "any reasons other than that".
> > >
> >
> > i understood your post perfectly thanks.
>
> ps. i was simply pointing out that quality is important. You wanted to
> know how the MP3s were different to the CD, aside from quality. Well, to
> me (and others i'm sure) quality is one of the most important criteria.
>
> Other ways the MP3s are different to the original besides sounding
> crappy?
They don't sound crappy though, they sound extremely good. Though not quite
as good as a real cd.
> -they're ILLEGAL unless you own the CD (doh)
So is taping shows off the tv....
> -no royalties etc. get paid
I'd be surprised if the composer gets more than 20c per cd. No, you should
replace this with supports future releases of scores.
> -no glossy inserts, liner notes etc.
They can be scanned :)
Arnold LS
>> -they're ILLEGAL unless you own the CD (doh)
>
>So is taping shows off the tv....
At least if you live in the US, taping shows off television is NOT illegal.
You are allowed to record any show for your own personal use. If you charged
people for dubs, that would be different. But taping shows off the tv is
absolutely legal.
- Mike Schiff
arno...@aol.com
Joshua Kaufman
I believe the law, technically, only allows it for "timeshifting" -- ie,
if you can't watch it when it's on, you may tape and watch later.
Arnold LS
>I believe the law, technically, only allows it for "timeshifting" -- ie,
>if you can't watch it when it's on, you may tape and watch later.
Yes, but how many other uses are there, really? Again, outside of
profit-making ventures such as dubbing copies or charging people to come over
and watch (like you could charge admittance to a "Watching Ellie" party). The
law doesn't stipulate a deadline for watching it after the original broadcast,
or demand an acceptable explanation for why you couldn't watch when it was on.
So really, how else do people use their VCRs?
- Mike Schiff
arno...@aol.com
Joshua Kaufman
One could tape them and save them for later, for the sake of watching
whenevetr. I'm sure many fans of various series do that -- in fact I
know they do.