Hi Everyone, sorry I haven’t been over here for a while and only just seen this thread. I am the chap who knows Bernie a little and wrote the interview that I think can still be found over at Perrsia’s site. As Sonia says I did take on a search (on behalf of Bernie) which allowed me to get through the various amounts of red tape as it was literally an employed composer trying to retrieve library copies of his music. For record, he has all of the series 1 cues, as well as premixes of some of the audio tape compilations whereby some of the music was manually altered to allow for abridged sections (but including dialogue). He also has a wealth of fascinating documentation from the show. As well as all of the sheet music manuscripts which are a delight to see. Sadly, he has none of the series 2 music, nor any cues from Silverhawks or any of the other ‘comic format’ shows for RB.
The search to track down the music was a pretty exhaustive one, taking about 2 years in all. First stop was Lee Dannacher (a great and very helpful lady - wonderfully remembered by her colleagues). She remembered seeing the last recorded sightings of the music in an airport storage depot around 20 years ago. After that I contacted countless members of the sound and music department. All great chaps, with great memories. In fact I plan one day to write a sequel essay about how the music was actually implemented within the show. Something Bernie is always very enthusiastic about.
One of the really nice effects of this – which I’m sure fellow fans will appreciate was that many of the sound team had not had any contact with each other since they’d packed up the last time when the shows wrapped, and I was able to put them all in contact with each other, and I believe they held a mini-reunion.
Finally after knocking on every door I found the music. Although it literally looked like they might not have survived for a while. Quite likely when you consider some of the gaps in early television show archives in the UK/US. But Kudos to Warner archives who had found that old depot and recovered their assets. However, it wasn’t quite as simple as that. Warner hold literally hundreds of tapes for Thundercats. A mixture of 1 and 2 inch tape recordings. These hold everything from Music Cues (the raw music we would have been after) and voice recordings, mixes, extended takes, foreign dubs, with and without audio effects. Hundreds, if not thousands of separate tapes. Given the expense of replaying these defunct-format recordings Warner simply shelved everything with the Rankin Bass name on it. They sent me the pdf listings for the contents and it seemed impossible to work out which tapes were which; the cost could have been hundreds of thousands. Fortunately, my prior contacts came in useful. Warner had only transcribed what was written on the tape boxes. And, low and behold it was Larry Franke that had sealed those same tapes twenty years ago. From his memory of the listings we pretty much narrowed down the tapes (Which all have a similar amount of cues for them). I think it’s about 150 ques on 13 tapes per series.
That’s when it all crumbles. Warner were happy to supply library copies to Bernie (subject to contract) but quoted $7,300 USD in 2004. They were going to pass the music to Bernie for cost only (ie not trying to make a profit) but needed him to foot the cash. The quote was about 6,000 for manually transferring the music in real-time with the remainder being thermal stabilizing of the stock which may have deteriorated over time to allow best playback.
As Bernie wanted TCats Series 2 and Silverhawks the total cost would have been $14,000 which was simply too much for us to pay. Although I have had the Series 1 cues transferred from the Cassette format Bernie holds them on (and the tracks sound wonderful) you would really need to get hold of Series 1 cues also, therefore you’re still looking at the $14,000 mark (assuming costs haven’t inflated). Therefore at the current rate of 256 signatures you would need to fork out fifty bucks to offset the outlay from Warner. I’d therefore suggest you would need to increase that number to make inroads.
The best hope is probably that at some point Warner will initiate an automatic digital archiving programme for its shows and property. Most studios are starting to do this for preservation. In which case that would all be paid for by its archive retention budgets.
Ultimately, the reason I stopped badgering was that Warner have shut the doors on anything to do with Thundercats. I was on the verge of getting licensing for a book (in the same vein as my interview) on the show, as I am in touch with many of the classic series production staff. But until the movie/TV show is resolved (and licensing approved to various companies) they aren’t discussing things at Warner licensing.
I think it’s a shame the DVDs are all out now. I would have thought the best-bet would have been to use the budget of the discs to get the music (with a view to increased sales) but alas not.
Hopefully it will see the light of day one day. I’m sure a small soundtrack press would happily pay the transfer fees, and make a modest (though likely not superb profit selling to fans like us) but it all boils down to whether Warner will grant the license.
Only time will tell. At least, if it’s any comfort, we now know the tracks do exist. And are safe until needed, something we certainly can’t say about many shows from the same era.
Thanks
Dave