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I noticed as I was assembling my Raiders edit, that the "Raiders March" cut from disc 5 of the concord set is sort of a fake - the ending has been verbed out but if you listen on headphones you can hear the first hit of the snares from the coda that appears on the end of the End Credits. So Concord just used the same ending for both and faked the one without the coda. Apologies of this has already been mentioned somewhere.

Thanks to the miracle of ipod playlists, I ripped in the 5 cds from the boxset straight as they are and then made playlists of the scores in film order. then i took the cues that weren't completely right and made edits of just those cues in Sony Vegas and Sound Forge, added those to my ipod and swapped those out in the playlists. in the case of temple of doom, i ended up doing a lot more because i wanted to have the option of listening to the cues separately or all cut together, which meant quite a few huuuuge pieces (for example, from "Deal for Diamonds" all the way to "The Village" is all one track). For Last Crusade I even made a playlist with the bootleg tracks in the proper place and another without them since they're such poor audio fidelity. Having different playlists enables quite a bit of flexibility without using a lot of storage space on the ipod.My KOTCS is the same way - the album ripped straight in and then a playlist in film order with replacement edits only for the cues that required them.

I have to say, one of my favorite things in the set is a small thing, really, but it is soooo nice to hear part 1 of Indy's First Adventure segue into Part 2 without that dry, choked-sounding edit from the original cd.

That comes from "The Prequel School of End Title Composition". Do a reprise of a familiar theme from an older film then awkwardly stop so you can play the new stuff. Neil Technically, he did that in EMPIRE and JEDI end titles too, compositionally speaking - simply clunked from old material into new with no transitional material.

I find the German dvd-rip of 2m4 Revisiting Padme to be very useful in my ROTS edit. Except for a few beeps from r2 at the head of the cue, it's pretty much totally clean and seques into Grievous Speaks to Lord Sidious seemlessly. The things I would like most to have from ROTS are the complete Death of Dooku (1m7), and a clean Yoda Farewell (5m4).

Maybe I missed something, but I didn't find any NEW music from AOTC or ROTS in the TFU PS2 rips that wasn't in the PSP rips also. Not to say I'm not glad to have them, they do offer some alternatives in terms of sound quality

I hope it's this...

Oh, ok, that's where that droid fight bit I was looking for came from, the SW.COM mashups. Also, I think that if the sustained string note was in there, it was because the cut of the film WAS longer than it is now....

Well, now that I think about it, I guess the sustained string note wouldn't necessarily have to be done by Wannberg & Co. Maybe it just starts on the last cymbal crash of that new bit and holds till the next cue starts? But I do have to say, have droid fight start right on that last crash of the new bit sounds pretty good to me...

Maybe he did, but I have to say, listening to the file as closely as I can, it sounds pretty seemless to me. The snare seems to start during the big brassy hits and play through continuously. I don't detect any change in timbre or any "swooshing" to indicate a cross fade... ps - i found that droid fight piece I was looking for - I guess it came from GoodMusician at some point...

Side note re:Ep 1 score, didn't someone find a piece of Ep 1 from the opening of the droid fight sequence on the trade federation ship at the beginning of the movie that had extra brass notes in the intro? I can't seem to find it anywhere... 165 0000166 from TFU seems to solve the mystery of where one of the short pieces is supposed to fit in - between "gas leak" and "droid fight". I guess the suspended string note over the droids saying "roger roger" was done editorially!

I have not always kept the most careful track of what everyone is saying and theorizing about the score to ep 3, but in reviewing this thread I've got a thought re: OBI WAN FARES DROIDS and I AM THE SENATE that I'd like to throw out there... It is my theory that the OBI WAN FARES DROIDS (OWFD) is made of the following cues: OST tk 5 (first section) Music Wookie Quest fail Reel 4 Deconstruction Mus avatar platform final I AM THE SENATE (IATS) is almost entirely action music, and what is used in the film for when Mace and the Jedi confront Palpy is tracked in from the OWFD cue. I put it together from the following bits: 57 data 0057 (with a lot of editing and rearranging) 148 data 149 70 data 70 Padme's ruminations (obviously this omits the emperor's theme and dv theme for the "naming" sequence) I base this on the fact that my recollection is that Lucas did reshoots for the Jedi facing Palpy in order to make it more meaningful when Anakin comes in and sees Mace facing Palps and is torn about what to do. Anyways, in my edit of the score, these two sequences cut together really well and flow quite nicely. So I thought I'd throw that thought out there... These new pieces from TFU have facilitated a really nice set of expanded cds for Ep 2 and 3, I have to say!

145 the first section is the segue before OLD FRIENDS in AOTC

How does one go about ripping this? Using XBOX 360 disc or PS3? I bought the game all legal and proper like so I don't think I'm violating forum rules by asking, I hope?

the raiders theme upside down is "tiny bubbles" by Don Ho

I believe the biggest problem was Ford Thaxton

In the old days, from the advent of stereo up until maybe mid to late 70s perhaps, everything in Hollywood was done to 3 track tape. All the Hollywood stages had 3-track machines for the film mixes - 1 mono track of dia, one mono track of music and 1 mono track of sound effects. Well, they also used the 3 track machines for recording the score - often the strings were sent to one mono track, the percussion to a second and the brass and winds to a third. Listen to the CD of THE COWBOYS for a good example of how this was recorded. The thinking was that the finished film would likely be in mono (or at least mostly seen/heard in mono) and the 3-track recording layout allowed maximum flexibility between the recording of the score and the final mix of the film - they didn't have to commit to a final mix of the music when they originally recorded it. Interestingly, a lot of pop records made in LA in the 60s used these 3 track machines as well. The Beatles recorded their concerts at the Hollywood Bowl on that format (1 track for vocals, 1 track for guitars and bass, 1 track for drums). Brian Wilson recorded most of his Beach Boys instrumental tracks up through Smile (1967) using 3 track systems, even though his final albums were usually in mono. Of course, using those 3 track orchestra recordings for stereo mixes results in some weird placement in the image, but unfortunately most of those scores were probably not considered a priority for separate album release. If they were making a record of the music, they often just rerecorded it in straight stereo (similiar to JAWS).

this is where it gets impossible to figure out exactly what went on without some more info from Lucasland. Liam and Ewan igniting their sabes to fight maul was shot entirely against blue screen. The fact that droidekas are behind them in the final film proves nothing when trying to figure out how the scenes was originally put together. The screenplay isn't much help because who know how much that reflects what the cut was that JW saw? Clearly, the harmonic language of certain cues indicates they go together - SPACE BATTLE ends on the same chord that opens ASCENSION GUNS, which ends on a chord that leads directly into THE GREAT DUAL. How this cue is supposed to end is still a question - the DOTF doc indicates it ends with those big chords and tamtam, but then what? Some interviews indicate that the end battles were scripted to be simlutaneous with intercutting, then were recut to be more self-contained and episodic (the complete space battle, the complete hangar battle, the complete castle gunfight, etc), and then recut a 3rd time to intercut again more like the first cut. It is unclear exactly how it was cut when JW spotted it, and how much rewriting he did during the recording sessions and then how much music editing was done during the final mix. There are just so many variables. For what it's worth, I compiled my list based on the music available. I believe now that the music I had scoring the courtyard battle was wrong, but I stand by all my other decisions as being MUSICALLY sound. Maybe one day I'll try editing the movie to my list without changing my music edit one bit and see how it plays out. HOWEVER, I think these are really fun to watch. OUTSTANDING JOB, GoodMusician, and keep it up, I love seeing your stuff! Especially the elevator sequence and sequence on Grievous bridge.

The sketches to JW's score for SUPERMAN THE MOVIE indicate that he definitely spotted the film with cues that lasted longer than 2 minutes. Now, I know there's 20+ years between Superman and SW Prequels, but it seems like he will still spot with cues longer than 2 minutes. He has stated in interviews that his goal is to write 2 minutes of score a day - but that doesn't necessarily mean he every cue is 2 minutes or that he finishes a cue every day - logic indicates it might take him 3 days to write a 6 minute cue. The Superman sketches also indicate that many cues were compiled by editing different TAKES together. IE they recorded a several takes of the same the cue and cut together a final version using sections from each take. They also recorded pick-ups, meaning if they got halfway through a cue and then it fell apart, they might go back and pick it up from a few measures before the trainwreck and then carry on to the end, then create the final version by editing the 2 takes together. But this doesn't make that 2 cues. The BBC doc with footage of JW conducting ESB shows him recording music (eventually dumped) for the mynock cave. He's shown rehearsing the orchestra by picking up at a later measure in the cue than measure 1. I think doc footage of DOTF also shows similiar pickups. Personally, I do not agree with a lot of GM's deductions re:breakdown of music for the prequels - but I applaud his efforts and welcome his input, and always look forward to hearing his edits. I don't think any of us will know definitively until a comprehensive cd is released, especially for films that changed so much between spotting the music and theatrical release, such as the prequels.

Do you mean that Shmi has no well-defined theme, or that it is never well defined in RotS? Because she definitely has a theme - you can hear it TPM when she says goodbye to Anakin, in AOTC when Anakin talks to Obi-Wan about his dreams on Padme's balcony, and again in AotC when Anakin reunites with his mom in the Tusken Raider camp. Personally, I think JW IS referencing Shmi's theme in the aforementioned scene with Palpatine.

Almost all of the music was from the original soundtrack - sometimes the show's producer Tom Voegli would vari-speed a cue up or down to match keys or better the drama of a scene, but generally speaking, it was presented intact. The opening title was an alternate take from the one used in the film and the album (it's one of the takes from the RCA Victor set). About 5 minutes of music was included on a bonus cd that was not on the original soundtrack - with no explanation of who made it or where it came from. My guess is it's taken from either THE MAKING OF STAR WARS AS TOLD BY R2D2 and C3P0 or THE STAR WARS HOLIDAY SPECIAL. It includes an alternate arrangement of the Jawa theme.

In sound forge, go to the effects menu, select pitch shift, then lower the pitch by cents (I can't remember exactly how much - sorry). Make sure "preserve duration" is unchecked or else the software will try to time fit the audio and it will sound very glitchy.

I think someone said it's a 4% decrease in speed?

The Donner cut has credits that are extremely faithful to the credits in STM. I personally didn't find the music editing in the Donner Cut to be so bad that it ruined the movie for me. Of course, as a fan of the score for STM, I was aware when they were editing cues together, etc, but it's what I expected when the project was first announced a year ago anyway. I was surprised actually that the film felt as coherent as it did, considering they had to use a lot of Lester stuff and the screen test. I honestly felt it was totally watchable, and while it may not be releaseable as a finished theatrical film, especially by today's standards, I prefer it to Lester's sillier take on the whole thing (especially Lester's over-use of ADR - it seems like every character in II and III is always going "hmmm" or "err" or "ugh" or making a stupid joke off to the side. Obviously it's a shame Donner had to rely on Lester footage for Houston, Niagra Falls, some FOS scenes with Lois and Clark, and the big battle in Metropolis, but since he never had a chance to film these scenes himself in the first place, this was the only option.

Lester shot all the Houston stuff too.