Drew

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About Drew

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  1. If anyone is interested, here is my transcription of the piece (by ear).
  2. Could I just have sensitive hearing? This isn't the first time that people didn't believe I could hear a difference between lossless and uncompressed.
  3. I understand. I'm just not sure if I agree that no quality is lost because I was able to tell a difference after upgrading to AIFF. Anyway, my main issue is if the FLAC files have a constant bitrate. You guys say they do but my computer disagrees...
  4. 1. This is what my computer says. Is the computer lying? 2. I still don't understand how there isn't any quality loss if the bitrate is lower than the CD's.
  5. Every FLAC album I have come across has been VBR under 1000 kbps.
  6. I know. Most of us just don't have sixty portions to spend on it. Unless another audiophile ripped it to AIFF, but this isn't the place for that.
  7. I'm assuming that FLAC is comparable to Apple Lossless, which uses automatic VBR from around 400 kbps to 1000 kbps. I know that I heard a difference when I switched from Apple Lossless to AIFF. The difference would depend on what bitrate a track was on Apple Lossless. Upgrading from 400 kbps to 1411 kbps would be more noticeable than upgrading from 900 kbps to 1411 kbps, for example.
  8. I have all of my CDs ripped as AIFF files (1411 kbps). They are better-quality than FLAC and basically are exact copies of the data on the CDs. I also recommend AIFF instead of WAV because AIFF supports metadata such as album artwork. The only downside is storage on my phone and iPod. iTunes is stupid and only has the option to downgrade higher-quality audio files to 128 kbps to fit more onto devices.
  9. I usually stick with the OST. It is painful to listen to the 160 kbps FYC when the 1411 kbps OST already has most of the music with better edits than the film versions anyway.
  10. It wouldn't be a score by a student of Hans without several additional music composers.
  11. The amount of little snippets from "The Battle of Crait" is...interesting. And the ostinato at 13 seconds comes straight out of The Post.
  12. It depends on how much involvement JW reportedly had as the music consultant...
  13. Desplat left because he decided to focus on Valerian instead of rewriting RO to fit the new edit. Different situation.
  14. I guess a little. I think if other composers were in his position, they might be a little uncomfortable being a replacement after so many times in a row. This thread is going after Balfe because of his reputation as a replacement composer who is known to not care about being a replacement composer on replacement projects several times a year. The attitude would be different if the assignment went to a different composer who did not have a history of disrespecting the art (like when Balfe says that film music doesn't belong outside the film). If I was a better-known composer and was offered to score Fallout, I would have declined. Not asking Kreamer to return is wrong, period.
  15. Assuming that the score sounds like the trailer music, I don't understand why McQuarrie didn't just hire trailer music composers. Balfe (like others from Remote Control) may not be as artistically qualified to be such high profile as he has risen to be (being friends with Hans does a lot), yet it sucks that he keeps being typecast into these generic action scores. I'm torn what to think of Balfe. On one hand, it's not his entire fault that he is always asked for this type of music. On the other hand, he always dodges all criticism by claiming that his music is never meant to exist outside the film, which is an alarming commentary on the future state of film music. He also seems to really not care too much about the composers getting replaced by him.