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This.
 
What is a well-known injoke, obviously sarcastic statement or friendly ribbing among a seasoned group of people who've already known each others' behaviour for years can seem like mean-spirited, useless or idiotic clutter (which it rarely actually is) to someone who hasn't had a chance to, or hasn't bothered to observe and understand these inner workings. I don't think that's necessarily our, or the former of these examples' fault.
 
This place feels quite like "real" people interacting and having fun while FSM from what I've seen seems a bit soulless.

You call it shitposting, I call it camaraderie. (It's also not people who are bored and have nothing to say - we were like this in the early 2000s too).
 
It's the reason I've come to this forum for 19 years, over half of my life.  It's also the reason that I don't bother with forums like FSM, which is, yes, far less silly, but also boring and much more genuinely mean-spirited.
 
I also think that the level of musical knowledge at JWFan, and the level of the discourse around music, has gone up over the past 10 years or so - people who write music, who can intelligently talk about music, etc.  There's MORE of that now, in my opinion.

The famous JWFan antenna are in full swing today!

Bring it

"But sweetie, where are the Remembering Mother alternates?"

I bet she used her lipstick to write him a note on the napkin she’s holding:
 
”What about the alternates, though?”

Speaking of, I wonder if the extended Knight Bus music was written for the deleted scene (appears on the DVD).
 
I don't believe that deleted scene used Williams' intended music, but the Sir Cadogan one did (and said cue was used on the OST).

Alrighty then
 

Well, this thread certainly took a left-hand turn.

It takes a lot of stamina for a pineapple to traverse through space, don't worry about it. 

This one was clearly called "Ghostly Wind Effect".

Essentially the way you see it above in the excerpt Jay posted: Williams will use words in the score like "Ethereal voices", and from there I believe whoever is the keyboardist--usually Randy Kerber--probably tinkers with sounds trying to imagine how to get the timbre Williams wants. This is what the process has been for me when I've had to program synth patches for music.

I wonder how Williams describes the type of synth sound he wants for any given instrument (celeste in particular, because he always seems to prefer a synth celeste over a real one). Especially with his extensive vocabulary 😛
 
I wonder if he prefers to hear lots of different samples then just picks the one he likes most. 
 
He was clearly very specific about the Potter celeste. Isn't the one in Rey's Theme synth as well? 

This is true. I thought I also remembered seeing Kerber with a Kurzweil or something, though. There's a number of synth sounds in Williams' output that don't sound like it comes from a DX7, they sound more modern. 

Shipped!

Awaiting shipment too!

OMG Me too! I just noticed I'm a regular poster now! ✋
 
My memes greatly helped my rep.

I’d love Williams to revisit “Luke and Leia”. The more mature, dramatic statement of the theme in TLJ is so gorgeous, and makes the (also beautiful) original arrangement feel almost too energetic. A new full arrangement to reflect the characters’ older selves could be gorgeous, if the TLJ statement is anything to go by.

Oh yes absolutely! Imagine some legit material for Snape, Umbridge, Malfoy, Slughorn, Horcruxes, etc.
 
Is that Three-Note Loop? I thought that was just a subtle Hedwig's Theme statement. Since...that's when she...you know...

For me, it's not only about the themes that could or would have returned. I'm mostly dreaming about all the new material he would have composed. The world of Harry Potter clearly inspired some very great music from Williams and I often find myself wondering how he would have handled set pieces or character themes from 4-8. I'm sure he would've adored Luna Lovegood.

To be fair, I so badly wanted it in there that I was listening for absolutely any passing resemblance but I still fondly remember my first listen  When it kept going over and over I was like "He fuckin did it!!!"
 
 
 
Coincidence to be sure but it's all I've got so I'll take it.

I doubt the Chamber theme would have come back but I like to think Dobby and Fawkes would have gotten token reprisals (not to mention characters/items Williams never got to like Umbridge). I always thought Dobby's theme had a tinge of melancholy that might have worked for his death, slower and appropriately rearranged. "Farewell to Dobby" incidentally shares a brief repeating phrase with Williams's melody which I've always kinda enjoyed/desperately clung to
 
We'd all have criticisms/pedantic nitpicks if JW did the whole thing, whether he overused or underused stuff, but at the very least I think effective, continuing musical identities for Voldemort/Death Eaters, familial relationships/friendships, and teen romance would have been much improved. I never expected his fellow composers to dig that deep into the lexicon but too many opportunities were either ignored or reset for my liking, even within their own films! Half-Blood Prince and Deathly Hallows 2 are the only post-Williams entries to carry anything at all over beyond Hedwig's Theme and while "Fireworks" for the Weasley twins is a memorable tie, I like Desplat's Horcrux motif, "Leaving Hogwarts" is appreciated, and I guess even Hooper's "Quidditch Third Year" thing is a nice arbitrary try, it's mostly too little too late.