Still vividly recall the horror of seeing Yeoman Thompson crushed into dust. I’m surprised that scene got by the censors, frankly. Thompson was played by Julie Cobb, daughter of noted actor Lee J. Cobb. She was for time married to FIRST CONTACT and BABE actor James Cromwell.
I hadn't put the last name together with Lee J! Good info. I recently read where Bixby's original story had a much worse punishment - that ten crew members were forced onto the hangar deck and the door opened. For sure, that wouldn't have gotten past censors of the day, so Dorothy Fontana helped re-work the script to this. Much better, painful as it is. I'll have more on this in the new video.
Love the ultimate computer brilliant episode with brilliant music for all three episodes. You’re making me realize David there was a standard music In most episodes, but only a few episodes they share the same music. Awesome video🎉 🎉🎉
Wow! I've said elsewhere that I had to look twice at the music credit for this episode because I didn't realise at first that it even had an original score, and hearing these has made me go "oh!" and "ah!" in equal measure. Considering how late in the season this episode falls, the new music for it is surprisingly normal. That was probably a factor in my not recognising anything new - normally when a later episode features an original score, the music is more specialised because they need something comedic or romantic or in a particular period setting. The other big surprise, again considering how late in the season it came, is how much reuse they got out of it in the few episodes that came after. I think "Patterns Of Force" may have thrown me a curveball by being aired before this one and making use of its music in addition to featuring some new music of its own, it's possible I thought it came from there. They say you learn something new every day, this must be my something for today! - Liam.
Love the discovery process. The session for "By Any Other..." also included the military brass/drum corps cues for "Patterns Of Force". Same players, same studio, same day! Recorded just before Christmas 1967. I'll delve deeper in the upcoming video. Thanks for checking out my "teaser"! 😉
@@davidpage9355the irony here is that I've recently got hold of Volume 3 of the soundtrack reissue, which covers all of Fred Steiner's music from seasons 2-3, but I have not yet had the opportunity to go through it!
How on earth did they do the tracking and sync the prerecorded music so perfectly? I assume the music editor did not have a say in how the scenes were cut. It is quite remarkable. I continue to love what you do, David. One drawback (or is it?) is that I’m more aware of the styles of the different composers - and as a result aware of the musical smorgasbord some of the episodes are :) … like putting a track by Jerry Fielding beside one by Fred Steiner? Really?
@@swmartin1960 As you responded to my comment I'll offer up an answer. I think I remember David saying on an earlier clip that the music editor did have a say. This puts the image in my head of the music editor watching the scene, working out which pre-existing cue to use on it, playing it with the chosen music on top, and then telling the main editor that the scene needs so many seconds added to or taken away from it in certain places so the music lines up properly. I know what you mean about the smorgasbord too - season 2 in particular was very much "horses for courses" in musical terms. The obvious examples are that alien planet episodes are Gerald Fried's territory while all the space battles reuse Sol Kaplan's music from "The Doomsday Machine". Three episodes gave Fred Steiner and Sol Kaplan shared credit for tracked music. Although even then there would be the odd cue from Gerald Fried or George Duning popping up where needed.
@@swmartin1960 More often than not the music editors got it perfectly. They had recordings (acetates, I think) that would be kept in a file by category - "pensive" "sad-lonely" etc. Considering that most of the episodes were so-called "tracked jobs" there was a lot of reused music across the Trek soundscape. And I guess it's a matter of personal taste - I don't mind Fielding followed by Steiner so much, as long as the meaning is conveyed which, again, happened more often than not. Total pros.
Wonderful compositions by my favorite Star Trek composer. The cues are highly reminiscent of the general musical soundscape as heard in “Mirror, Mirror” the episode which Steiner also wrote music for.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
I like the split frame synchronized cues approach very much.
Still vividly recall the horror of seeing Yeoman Thompson crushed into dust. I’m surprised that scene got by the censors, frankly. Thompson was played by Julie Cobb, daughter of noted actor Lee J. Cobb. She was for time married to FIRST CONTACT and BABE actor James Cromwell.
I hadn't put the last name together with Lee J! Good info. I recently read where Bixby's original story had a much worse punishment - that ten crew members were forced onto the hangar deck and the door opened. For sure, that wouldn't have gotten past censors of the day, so Dorothy Fontana helped re-work the script to this. Much better, painful as it is. I'll have more on this in the new video.
Love the ultimate computer brilliant episode with brilliant music for all three episodes. You’re making me realize David there was a standard music In most episodes, but only a few episodes they share the same music. Awesome video🎉 🎉🎉
Just pure genius.
Wow! I've said elsewhere that I had to look twice at the music credit for this episode because I didn't realise at first that it even had an original score, and hearing these has made me go "oh!" and "ah!" in equal measure.
Considering how late in the season this episode falls, the new music for it is surprisingly normal. That was probably a factor in my not recognising anything new - normally when a later episode features an original score, the music is more specialised because they need something comedic or romantic or in a particular period setting.
The other big surprise, again considering how late in the season it came, is how much reuse they got out of it in the few episodes that came after. I think "Patterns Of Force" may have thrown me a curveball by being aired before this one and making use of its music in addition to featuring some new music of its own, it's possible I thought it came from there.
They say you learn something new every day, this must be my something for today!
- Liam.
Love the discovery process. The session for "By Any Other..." also included the military brass/drum corps cues for "Patterns Of Force". Same players, same studio, same day! Recorded just before Christmas 1967. I'll delve deeper in the upcoming video. Thanks for checking out my "teaser"! 😉
@@davidpage9355the irony here is that I've recently got hold of Volume 3 of the soundtrack reissue, which covers all of Fred Steiner's music from seasons 2-3, but I have not yet had the opportunity to go through it!
How on earth did they do the tracking and sync the prerecorded music so perfectly? I assume the music editor did not have a say in how the scenes were cut. It is quite remarkable. I continue to love what you do, David.
One drawback (or is it?) is that I’m more aware of the styles of the different composers - and as a result aware of the musical smorgasbord some of the episodes are :)
… like putting a track by Jerry Fielding beside one by Fred Steiner? Really?
@@swmartin1960 As you responded to my comment I'll offer up an answer.
I think I remember David saying on an earlier clip that the music editor did have a say. This puts the image in my head of the music editor watching the scene, working out which pre-existing cue to use on it, playing it with the chosen music on top, and then telling the main editor that the scene needs so many seconds added to or taken away from it in certain places so the music lines up properly.
I know what you mean about the smorgasbord too - season 2 in particular was very much "horses for courses" in musical terms. The obvious examples are that alien planet episodes are Gerald Fried's territory while all the space battles reuse Sol Kaplan's music from "The Doomsday Machine". Three episodes gave Fred Steiner and Sol Kaplan shared credit for tracked music. Although even then there would be the odd cue from Gerald Fried or George Duning popping up where needed.
@@swmartin1960 More often than not the music editors got it perfectly. They had recordings (acetates, I think) that would be kept in a file by category - "pensive" "sad-lonely" etc. Considering that most of the episodes were so-called "tracked jobs" there was a lot of reused music across the Trek soundscape.
And I guess it's a matter of personal taste - I don't mind Fielding followed by Steiner so much, as long as the meaning is conveyed which, again, happened more often than not. Total pros.
Good cues. They used them a lot
Wonderful compositions by my favorite Star Trek composer. The cues are highly reminiscent of the general musical soundscape as heard in “Mirror, Mirror” the episode which Steiner also wrote music for.
I really enjoy your segments. I agree the music really made the show as much as the effects and acting.
Nice presentation!
RUclips is full of noise. I come here to the well of truth as a sanctuary. Love all your videos! 😊
The Enterprise goes to "Plad" in this episode.
Did not like this video presentation.
Too confusing.