Music Composed by Hans "Long John" Zimmer Featuring Rodrigo y Gabriela Score Overproduced by Hans "Long John" Zimmer, Bob "Cut 'Em Up" Badami & Melissa "Tortuga Wrench" Muik Soundtrack Album Produced by Hans Zimmer & Peter Asher
Orchestra Recorded by Alan "Mizzenmast" Meyerson & Slamm "Scallywag" Andrews Choir Recorded by Geoff "No Prey, No Pay" Foster Score Mixed by Alan "Mizzenmast" Meyerson
Rodrigo y Gabriela Performances: Produced by Rodrigo y Gabriela Recorded by Fermin Vazquez Llera at Lumbini Studios, Mexico
Mixed by Nathaniel Kunkel Guitar Techs: Enrique Cruz de Alba aka Kike Brown & Robin Easton Sound Consultant: David Merchant Personal Assistant for Rodrigo y Gabriela: Adriana Sanchez Zoletto Management: Niall Muckian & Chris Tetseli Management Assistant: Anders Hester
Executive Soundtrack Album Producers: Jerry "The Hook" Bruckheimer & Rob "Swashbuckle" Marshall Executive in Charge of Music & Soundtracks for the Walt Disney Studios Motion Picture Group & the Disney Music Group: Mitchell "Swabby" Leib Music Production Supervisor: Monica "Blackheart" Zierhut Music Supervisors: Bob "Cut 'Em Up" Badami & Melissa "Tortuga Wrench" Muik Music Production Consultant: Peter "Barnacle" Asher Music Production Services: Steven "Swagger" Kofsky Music Coordinator: Andrew "Mad Dog" Zack Music Business/Legal Affairs for the Walt Disney Studios Motion Pictures Group: Scott "White Beard" Holtzmann & Sylvia "Eagle Eye" Krask Music Creative/Marketing for the Walt Disney Studios Motion Pictures Group: Glen Lajeski Soundtrack Production Director: Desirée "Pillage" Craig-Ramos
Featured Cello: Martin "Scourge of the Seven Seas" Tillman Solo Voices: Hila Plitmann, Grave Davidson & Dee "Vixen of the Seas" Lewis Clay
Additional Music by Geoff "Broadside" Zanelli, Tom "Chum Bucket" Gire, John "Red Beard" Sponsler, Matt "yARRRdstick" Margeson, Guillaume Roussel & Eric Whitacre Additional Arrangements by Jacob "Buckwald" Shea, Thomas Bergersen & Nick Phoenix
Supervising Music Editor: Melissa "Tortuga Wrench" Muik Music Editors: Barbara "No Quarter" McDermott & Katia "Slice n' Dice" Lewin Palomo Supervising Orchestrator: Bruce "Crossbones" Fowler Orchestrators: Elizabeth Finch, Walt "Argh" Fowler, Rick Giovinazzo, Kevin Kaska, Suzette "AYE!" Moriarty & Ed Neumeister Orchestra Conducted by Nick "The Admiral" Glennie-Smith Music Preparation: Booker "Fire Ship" White, Walt Disney Music Library
UK Choir Preparation: Jill "Pirate Got Me Eye" Streater
Additional Recording by Daniel Kresco & Satoshi Noguchi Score Editor & Recordist: Kevin Globerman Assistant Recording Engineers: Adam Michalak, Christian Wenger, Lori Castro, Sam Okell, Paul Pritchard, Adam Miller & John Prestage Assistant Mix Engineer: Satoshi Noguchi Choir Conducted by Eric Whitacre, Gavin Greenaway & Ben Foster Orchestra Contractors: Sandy "Smooth Sailing" DeCrescent & Peter "Jolly Rotten" Rotter Concert Master: Endre Granat Score Recorded at Sony Scoring Stage, Culver City, CA & Remote Control Productions, Santa Monica, CA
Score Mixed at Remote Control Productions, Santa Monica, CA
Studio Manager for Remote Control Productions: Czarina "Lady Jane" Russell Choir Contractor: Isobel "Jolly Roger" Griffiths Choir Master: Jenny O'Grady Choir: Metro Voices Choir Conducted by Gavin Greenaway, Eric Whitacre, Ben Foster & Matthew "Dunkel" Dunkley Choir Recorded at Air Lyndhurst Studios, London & Abbey Road Studios, London
Assistant Choir Contractor: Charlotte Matthews Supervising Technical Music COordinators: Chuck Choi & Thomas "Six Pounders" Broderick Digital Instrument Design: Mark "Walk the Plank!" Wherry Technical Music Assistants: Phill Boucher, Joerg Huettner, Josh Lynch & Jason Soudah Sample Development: Claudius "String Bucket" Bruese Sample Development Assistants: Sam Estes & Michael Hobe
Mastered by Patricia Sullivan at Bernie Grundman Mastering, Hollywood, CA
Hans Zimmer would like to thank: Rob "Swashbuckle" Marshall, Jerry "The Hook Bruckheimer, Sean Bailey, John "DeLandlubber" DeLuca, Johnny Depp, Penélope Cruz, Pat "Kraken" Sandston" Chad Oman, David Brenner, Michael Kahn, Wyatt Smith, Mitchell "Swabby" Leib, Monica "Blackheart" Zierhut, Bonnie Abaunza, Tiffany "Anne Bonny" Bordenave, Eduardo "Twin Studs" Cruz, Peter "Shiver Me Oscillators" Gorges, Michael Gorfaine, Joerg Huettner, Bryce Jacobs, Jasha Klebe, Steven "Swagger" Kofsky, Christina "Madame Pink" Mansky, Lee Rossignol, Jeff Sanderson, Sam "Shark Tooth" Schwartz, Shalini "Gunwalls Ethel" Singh, Jason Soudah, Chris "Gust o' Wind" Strong, Jill "Cannon Ball" Weiss, Michael "The Chomps Bodega" Zimmer, Suzanne "Sea Wench" Zimmer, Jake "Black Dog" Zimmer, Max "Sea Dog" Zimmer, Annabel "Treasure" Zimmer & Zoe "Rum Legged" Zimmer
Special thanks: Lesley Allery, Stephanie "El Lobo Sangriento" Curtis, Ken Dapron, Nancy Dolan, David Fermin, Al "La Flaca" Flores, Kaylin "Scurvavious" Frank, Stephanie Harris, Ryan "Jelly Legs" Hopman, Daphne "Ouzo Lookout" Lambrinou, Jackie Minakuchi, Matt "Salty Dog" Sullivan, Chris Tetzeli, Don "Dry Wit" Welty, Keith Wilson, Reggie Wilson & the entire staff at Walt Disney Records & the Disney Music Group
Release date : 05/17/2011
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Did you guys notice the latest behind-the-scenes video of Star Citizen. It's about the music of the games singeplayer campaign called SQUADRON 52. And Geoff Zanelli is in it talking about his score in this massively ambitious space opera
I'm probably getting a little impatient, but still no word on Geoff and Pirates 5? It seems they're in the thick of post production, and still no news... Lol
I really hope Hans returns! He could co compose it with Zanelli John Williams returned to Star Wars and indiana jones, john powell returned to Bourne so I think HZ should do the same:)
HZ will not return... The score is being done as we speak, and Hans is touring ! lol
He will probably give his opinion since they always ask for it, but he will not return... :P
@HybridSoldier Do you know WHY Hans is not returning for Pirates 5?? I'd really like to hear his reasons... Because he did an amazing job with the other scores and I'm not really looking forward to seeing a Pirates movie without a true Hans Zimmer score... And I'm sure lots of people think the same way.
So, if you could tell a bit about his reasons, I'd really appreciate it :) Thanks!
Well he has done the job since Pirates 3, the 4th was unexpected so it's more a patchwork than a very strong score. So it's not a surprise if Hans is not back on the 5th, it's better in that way I think.
Because he spent many years on this saga and it was time to move on, and the production of the fourth was horrendous... lol
Not only am I perfectly fine with Hans not returning for 5, I wish he hadn't been dragged back for On Stranger Tides either. At World's End ties up that series of scores so phenomenally well, there really was no more need for him to continue (or for more films to be made, but that's a debate for another time...).
If you ask me, you couldn't find a more appropriate steward of the franchise than Geoff Zanelli, who is the only other person than Hans to have worked on all four scores so far. I'm really excited to see what he does. I have no doubt we'll hear plenty of familiar music, though hopefully in fresher renditions than the straight rehashing of On Stranger Tides.
Also, is it even confirmed that Powell is legitimately returning to work on Bourne? Or is it going to be a Buckley score using Powell's themes and Powell's only credited for the latter? And what happened to the no-RC-no-Powell-no-Greengrass-no-way thing?
Thanks @HybridSoldier Well, it can't be helped anyway, but Pirates without Hans won't be Pirates for me.
I really hope Geoff Zanelli will continue to use a lot of the "old" themes, because that IS Pirates. Pirates 3 is my most favorite score of Hans ever. I hated the fourth film, but the music was good nevertheless. And I have a feeling about Pirates 5 being a much better film than the last, so I really hoped for a new epic Hans Zimmer score coming along with it...
I am really sad, and hope Hans would consider returning for a possible 6th film. For now it is clear to me that I won't be watching Pirates 5 in cinema, like this it is enough for me to wait for the home release.
Anyway, thanks for your fast reply @HybridSoldier :)
Well first of all know that Martin Tillman officially signed to be the Cello of POTC 5... So I doubt we should worry... The POTC sound shall return ! ;)
Well, that sounds good, so lets hope for a return of the typical POTC sound, even without Hans ;) Still sad he doesn't do it himself, but I'll give Geoff his chance of course ;)
Geoff will be more than fine. I have complete faith in him. Hopefully, it breathes a little freshness into the franchise.
I know there's not much to be said for this score any more, but I was listening to some Pirates, did anyone else feel like this score sounds weirdly 'hollow'... like just something really thin and unsatisfying about the orchestration. It sounds (to me) really flat and cheap compared to especially to the third.
You really notice it with the recycled cues, when you compare them to the original - the originals sound crisp and intricate, whereas the P4 version sounds watery. Wonder what happened here?
Oh, you're not alone. I've noticed that, too.
You put what I was thinking into words perfectly.
It's symbolic. Barbossa lost his leg, Jack lost his ship with the crew (Pintel and Ragetti), Disney lost the ability to make a story AND Gore Verbinski, we lost Elizabeth and Will (and Pintel & Ragetti), Hans lost his calibre. These all fit.
Did anyone else notice how open Zimmer was with the credits for this one? He flat-out said Zanelli wrote the Spaniard theme, and that Eduardo Cruz and Rodrigo y Gabriela helped out with the Angelica stuff, and that he took care of Blackbeard and the Mermaids...typically he doesn't go into that much detail.
AMybe that's how much he just really didn't give a fuck about this score.....
Ahahaha, we all knew this one! Still a little sad Zimmer himself isn't scoring it, but there will still be plenty of continuity and probably a quality score this way! :D
Well Hans probably won't be that far...
Even though the fact that Zanelli is scoring it instead of someone like say, Brian Tyler is I suppose good, I am really sad that Hans isn't scoring it. The pirates scores were the first I ever heard from Hans and ever since he's been my favourite composer...Now I feel like I've lost all excitement for this potc movie, because what is pirates without zimmer?
I really hoped he'd reconcile and score 5, but we'll see what happens... Good luck mr Zanneli...
Is this true? the article is not on the website anymore, it takes me to a 404 page.
It definitely WAS on the website. I went to it.
so hybrid soldier you think zimmer will end up working on it ?
For anyone saddened about this...whether or not Hans eventually comes back, this news means that POTC5 will be a true Pirates score. Zanelli has had a ton of experience with the series and wrote some subthemes throughout. He knows how the series "sounds" and will probably continue it faithfully. Not to mention that he was the one person who enjoyed doing POTC4, allegedly, so if he enjoys doing this one, too, that will probably affect the score as a whole in a positive way.
Uh, yeah, it WAS on the site, but now it's not (they deleted their tweet about it too!), so who knows...
Zanelli was responsible for quite a lot of the things we all liked about the pirates scores. This is probably a big deal to him and we should support this.
This news better be accurate, because if it is, this just made my day!!!
To be honest Film Music Reporter got a little too fast, Geoff told me it's not strictly speaking official yet.
But it's gonna happen, I have no doubt about it ! :)
I'm very happy about this !
Awesome! Really no better thing could have happened. It looks like some executive at Disney heard our prayers :p
Great news! Looking foward a great score from Geoff :)
Was Hans at all involved in writing "The Pirate That Should Not Be", "Angry & Dead Again", and "South of Heaven's Chanting Mermaids"?
Yeah NGS too (lol), they are early demos/jamming that obviously didn't make it to the film...
Interesting. Would've been interesting if they were in the film. xD It would have been an improvement over the temp-track fest that the final score was, at least. :P
I don't know, I really don't like the style of those tracks a lot...
No one does.
Lol it's still better than the average RCP score. "Angelica" and "Palm Tree Escape" are quite enjoyable.
I think those ideas would've been fleshed out more. I think 'Palm Tree Escape' offers a glimpse at what could've been. It still baffles me though that London didn't get a theme. For some reason that's one of my biggest disappointments music-wise (in fact I think the London scenes had all the worst music). *shrug*
So NGS did do some form of writing on this score. Good to hear. It wouldn't be a POTC score without him. ;)
I just hope that if Hans doesn't score the fifth one they hire Geoff to do it. After all the problems they had with OST wanting to temp-track it they wouldn't call someone outside RCP in order to do it, right? My dream coming truth would be HZ coming back. Maybe its possible since the have new directors. We've seen HZ changing his mind before...
Won't make any difference if you have the same cowardly executives.
I'm not sure if I'll watch it without a HZ (or GZ) score. Hope it all works out fine.
Now that pirates 5 is coming out in 2017, maybe Hans will change his mind and come back one last time.
I would appreciate it if he and co. would write another GOOD Pirates score (and thus let us forget this one happened), but it doesn't seem likely to me.
I think I'd be pretty jaded after P4. I mean, it really is an atrocious score with the exception of 'Mermaids' and Geoff Zanelli's fun arrangements.
I think it's been said before that it'd be cool if he got a crack at being the lead composer, but not if it's just going to end up another cut-and-paste recycled mess.
I think Geoff would be the best bet. He seems like he has always had a great time with this series, and other than Zimmer, seems to have the most influence in the tone of the series thus far. If Zimmer doesn't return, Zanelli would be my #1 choice.
Speaking of Geoff Zanelli, Hybrid, would you be able to put the End Titles from Modern Warfare 3 Defiance (found on his site) on his page here? It's awesome stuff. ;)
"Syrena Saves Philip": this is not a track from the demos that surfaced a while back. The orchestration feels more real, unless I'm imagining things. Where did this come from and/or can it be found in higher quality?
Unless what I am interpreting as static is really part of the music, or said static is so bad that it has changed a demo track that drastically. After listening again, I suspect the former. After listening a few more times, now I feel like it's the latter.
So, uh, any help with this one?
This is actually Syrena saves philip alternate 3 the one that was used in the movie is alternate 1. I hope this helps :)
Hmmm...The "Jack Jumps" track that was added sometime also has differences. Unlike that other one, this cue only has two versions on the demos so there's less to compare this against. And what do I hear? Some interesting overlays on the track here that aren't present on the corresponding demo version of it.
Methinks somebody here has the real recorded (if that's a legitimate term to use here) orchestral score or else other composers have posted their contributions and I just haven't run across said composers' websites...
By the way, thanks for responding Tamara!
I've listened to all the songs in that are displayed and something is different in all of them but it's quite nice to hear slightly different versions. The originals are still my fave though and are far more dramatic with a lot more dynamic contrast.
0:45-0:51 in Spanish Arrive....isn't that in Crimson Tide???
The melody is from "Dies irae", a 13th century Latin Catholic hymn. Look it up on youtube. It's been used in a ton of Zimmer/mv/rc scores as well as by other non-rc composers. It features prominently in Road to El dorado, for instance. The other day I also noticed it in the rock.
Glad to know I'm not the only one who thought it sounded like Dies Irae!
While listening to that part from On Stranger Tides, I was thinking that I must have also heard this melody in some other movie... I was sure of it. And now I remembered what the movie was :P "Main Titles" from the classic movie "The Shinning", it's an even more stretched version of that melody. And I also think (not sure at all) that the track from On Stranger Tides (or, more precisely, the first time this has been copied into a RC/MV score) actually copies the copy from The Shining ;p Then again, who knows, this part might have been used in a lot more scores/songs...
It's in Conan the Barbarian by Poledouris as well. Hell, even the original Star Wars has a nod to it. I don't think you can point to a single score/film and say "that one started it" - it's just been a part of the collective musical memory for so long.
It's on MANY MANY scores... The Road To El Dorado, POTC 4, Crimson Tide, D-War etc...
Did this score have any suites written for it? Like, is there a Mermaid Suite or a Blackbeard Suite in Hans' repertoire anywhere?
i don't think so :/
Maybe Zimmer (and co.) didn't bother writing suites after they were told to temp track most of the score.
Mermaid Suite (basically the first half of Mermaids here) & Angelica Suite...
Oh, I was under the impression that the Mermaids track was the cue accompanying the mermaids' first scene and that Angelica was the complete version of the dance scene cue (and that only part of it got used). Thanks. lol.
New title for the 5th film. Dead Man Tell No Tales:). I love the title name and it gets me excited to see what they will do. I know Hans probably won't score it but I'm hoping Geoff gets to do it if Hans is not going to do it. What are your thoughts on the title? Like or dislike? And why.
I Like It Sounds Catchy I Sure Hope Zimmer changes his mind about scoring it it would make my day if I found out he was scoring it. I think it would give him a chance to redeem himself for the last score
sorry forgot the Period after it ;)
It would be interesting if they got Klaus Badelt back to actually score the thing himself this time. It'll never happen though. :D
In my opinion Zimmer's Scores are better Especially POTC2
POTC1 Is My 3rd favorite of the 4 scores The last being this one. POTC3 is 2nd.
Question, Hybrid. Normally w/ movie cues, Zimmer either guides the additional composers through them, saying what he wants, giving thumbs up or down, rearranging if necessary, or he does them himself...But what about in the case of a movie like this, where Zimmer and co. were forced against their wills to temp track most of it? Was Zimmer still in charge of the cues in that case or was it the director saying what should go where?
Gosh the development of this score is weird....There were so many people involved with it, but still the movie had 90% temp music. Zimmer did the mermaid theme and the Blackbeard theme, Zimmer, Eduardo Cruz and Rodrigo y Gabriela collectively came up with Angelica's music, then Geoff Zanelli was the guy who wrote the awesome Spanish theme. I wonder what this score would have been like had Disney accepted Hans' new ideas. And I wonder as well who will score the movie that should not be made, Pirates 5. I imagine Zanelli will do it. He's been the number 2 guy on the other ones, so if I had to pick anyone other than Zimmer, he'd be it.
I'm all for another Pirates film as long as it's done right (which after the wretched On Stranger Tides, who knows). I too would love Zanelli to score Pirates 5. Really, other than Zimmer, Zanelli is the one which threads all the movies together.
In a lot of ways, I think having Zanelli score the film (rather than having Hans change his mind and do it) would give us a superior score. Why? Because I think that Zimmer wants to be done with this franchise, whereas Geoff Zanelli seemed to enjoy working on all of them. And if Zimmer doesn't enjoy it, that will probably show within the score he writes.
Speaking of Zanelli and PotC4, have you guys heard the "Mermaid Attack" cue on his site? It's a lot better than the one on the album (the one which gave only a slight alteration of Beckett's demise).
Trust me from Geoff's word, doing P5 would be a dream come true for him... :)
That being the case, Hybrid, maybe Hans would recommend that Geoff to Disney. That would be a win-win scenario. Hans would be free of having to score it, Geoff would be able to score it if he wanted, and we'd still have a score that sounds basically like the other four.
recommend Geoff* to Disney
I truly think Geoff deserves the same kind of big budget productions as Lorne Balfe or Ramin Djawadi. He's always been my favorite RMP guy besides Zimmer.
Hybrid, in an interview for this film Zimmer calls Rob Marshall a "complete gentleman" who "couldn't have been kinder to the music in the movie". But you make it seem like he had an awful time working with him. So was that just Hans being polite? :P
Maybe Hans called Rob a "complete gentleman" because Hans himself is a "complete gentleman" who didn't want to ruin the director's reputation... :P
Hybrid, the problem was with the director or was with Disney? There is any chance of a HZ score now that new directors were hired?
Never trust official interviews or DVD featurettes. Remember how Djawadi said working on Iron Man was great ? xD
Hybrid, what was Hans' worst scoring experience, a movie he wishes he never worked on?
I wonder who will compose the fifth movie now that Hans isn't. Will Disney hire an RCP member who worked on the others or will they get someone else? Time will tell...
I really, really think they should just cancel plans for that movie right now. They should have stopped at #3 (some would argue they should have stopped at #1). It was evident with #4 that it was mostly a way to make money (according to Rotten Tomatoes, 33% of critics gave the movie a positive review), and it's even more evident with this one. Now even the main composer of the series has decided to be done with it.
Disney, if you're reading this, please scrap the film. lol.
Yep, Pirates has definitely outstayed its welcome. Although I certainly wouldn't be against a PotC 5 as long as they make it fresh and non-money-grabbing, and they got Geoff Zanelli to write a great score that pays tribute to the Zimmer scores without using them as a crutch too much. :)
For once, we agree completely Ed !
What makes you think Hans isn't coming back? I think as long as Jerry Bruckheimer is producing I think he will stay because he wanted hans to do pirates from the beginning and let Alan Silvestri go. Bruckheimer likes his style of music and so we will see. I'm hoping he comes back to do the 5th.
Because he told me !
And, I still hope there will be a change in that decision if they hire a decent director, this time...
Yes, Anonymous 2, Hans told Hybrid, who in turn told us. Now Hybrid, if there were a different director who wouldn't insist on temp tracks, do you think Hans would wanna work on the film?
Haha he said he wasn't doing Man of Steel. Look what happened there. I think it's too early to assume he is out even though he told you. A lot of things can happen from now until post production of the new pirates. I think once a director is chosen and what direction the production is going then will we know if he is doing it or if one of his guys are. I hope he changes his mind though. If not I hope he at least helps out with writing some of the music or something with the music if he does not compose.
Well I would be more than happy if Hans Zimmer decided to take the project, delivered an amazing score, and let us all forget that this one happened in the process.... ;)
lol...I'll be honest. I hated that there were so many remixes on this album that could've been score material.
Idk why...the score was mostly a giant rehash of the previous scores. :P
Now that I've heard more of the full score, I agree (I wrote that when I saw the film once or twice). But there are a FEW noteworthy cues, like when the Spanish arrive at the Fountain of Youth, and the jungle trek.
Hans wrote about it on the VI Control Forum :
"I am truly sorry that anyone watched POTC "On Stranger Tides". Honestly, we really had a good idea, but alas...It's very hard to tell a company they can't use the temp when they actually own it! Now, that's Temp Hell..."
Whoa...the company owns the cues, and not that guy who wrote them? What kinda world do we live in...Anyway, Hans needn't feel too bad. He redeemed himself with The Dark Knight Rises (judging by the suites he wrote alone), and I'm sure Man of Steel will be great, too.
What you don't get is that to temp a movie with other cues, a production company has to pay...
Then, temp can be limited...
With Disney owning his own POTC scores, they could do what they want temping the movie like crazy. And they did. And they wanted the team to stick to it, no matter what.
I see...And why exactly didn't they let Hans use any original ideas? Did they need to get the film out too quickly?
*many, not any
They didn't care & didn't want new ideas... :/
They probably also thought, "Most people won't notice, and hey, the Pirates music is already thought of as 'epic' by the common audience, so it probably won't matter what form it comes in".
Here's to hoping the don't make the same mistake with any possible Lone Ranger sequels.
Gore Verbinski is not Rob Marshall... ;)
Very good point. Forgot POTC4 was a different director.
Agree! Gore Verbinski's an amazing director. From the trailers, The Lone Ranger doesn't look so good but i'm sure it'll be original and inventive, just like everything Verbinski's done.
Btw Hybrid, do you have an idea of how TLR score's going to sound? I hope it'll be VERY different from POTC.
Maybe using a lot of temp track also meant having to pay less to Hans and his team? I could be wrong though.
No you're wrong cause they re-record the whole thing anyway... :)
Okay, then I was right--they DID re-record the stuff. I guess that means that even if it's re-recorded, it's still a temp track.
I figure I'll move the discussion of POTC4 over here, rather than filling the Lone Ranger page with it. Anyhow, my question is, wasn't this score played with an actual orchestra? I remember seeing a photo of an orchestra playing the score during the production stages of the film, and if that's the case, could it be argued that the temp tracks aren't temp tracks per se, since they were re-recorded, rather than copied and pasted onto the the scene?
I would assume a re-recorded cue could still be called a temp track...Doesn't temp track simply mean "temporary"? It doesn't necessarily have to be previously recorded. Although it does make its presence far less tacky if it is played/recorded again. It at least shows that an effort was put into it.
But wouldn't a temp track be a temp track precisely because it has been recorded already and simply needs to be placed in the scene for "temporary" purposes?