wanner251

Mockups are for pansies and paranoids... The unfortunate part of this challenge was that even though it didn't matter, we ended up being judged on whether what we were writing was matching the images on the screen. I remember getting that exact feedback, which I thought was odd.

I have a friend whom Angela Morely mentored into the transgender world. She wants to write a book on Angela; it seems logical that Williams would be a great resource for such a thing. Good luck getting that interview, though.

I would hope that he still likes "Parade of the Slave Children". I would like to hear that one in concert someday.

The Theme from Sabrina is quite a masterpiece of chord progression. WAAAYYY more difficult to understand than it sounds... That is the trick of a master, though.

This seems very uncharacteristic for him. He always talks about how he never wants to see a script, nor read the book, etc... He just wants to see the final cut, and go from there... Thoughts?

Yes... the real musical landscape pretty much comes from the first three films. The rest is drivel... except for maybe Patrick Doyle's little waltz in Goblet of Fire. That's not bad. Maybe one of Hooper's themes... Desplat did a good job, considering all the distortion he had to deal with, but it just doesn't measure up, IMO.

Heartbeeps...

I have the Anthology and the Special Editions. I may have to go through them and configure some sort of "best of both worlds" set. Especially for RotJ, which sounds horrible in the Special Editions.

Yep.

And, the prequels were recorded in the analog domain....

What I meant by riding the gain, is that you can push the clipping point WITHOUT clipping, with digital, it clips after 0, no matter what. And I just read that, and was just going to share it. I think that has a LOT to do with it.i wish that the prequel music had that edge.

The Decca Tree is from the 50s, though. I can imagine that it was used to record the Vienna/Solti Der Ring des Nibelungen. Which, I think sounds fantastic! Still has that edgy sound. One thing I've noticed with analog recording is that engineers "ride the gain". They push the clipping point, which you absolutely can't do with digital. Once over 0db, it clips like crazy. I'm going to read that analysis right now.

Hmmm... It's those kinds of points that make me wonder if the music for the original films should be rerecorded in a more modern way instead of just remastered, given the fact that the visual effects have all been updated to cgi. It would seem that, as it stands, there is a fundamental disconnect between the two elements. I do find it odd that Lucas would make such a decision, not taking into account that the sound of the score would still date the films, if his intention was to make them timeless.

This is all fine, as everyone has his/her own opinion of what they like better. But is the sound of it part of the iconography? Or does it not matter?

We all know that there are new Star Wars films coming in the future, and we know how much the prequels managed to deteriorate the iconography of the originals. One of the things that I think defines some of this iconography and identity of the original films is the LSO, their performance, and what I believe to be the techniques with which they were recorded. There is a gritty, edginess to the sound of the orchestra, which is completely lost in the prequel recordings. The new ones just sound too smooth. Does anyone feel the same way? I wonder what kinds of techniques were used back in the 70s and 80s to achieve this; I'm not sure if it is merely an analog vs. digital debate because it sounds like there are many more things going on, perhaps close-mic-ing the instruments, I'm really not sure. Do we hope that this could be something that John Williams and JJ Abrams will care about for the 2015 film? It would seem that John Williams would be an advocate for a smoother sounding orchestra these days. Does that detract? Do we care? Does it matter? How would they go about it if they DID care? Thoughts?