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Everything posted by Datameister

  1. ESB is more salvageable. You can get it to a very listenable state by artificially widening the stereo field, adding a touch of reverb, and adjusting the EQ a bit. ROTJ is what is...those higher frequencies are just gone, full stop. Nothing you can do to unmuffle that album.
  2. That's about the best you can currently do as far as Star Wars albums go. If you want, you can check out the remastered prequels (I haven't).
  3. Currently I've got about a 10-minute drive to work, unless traffic gets really bad. It's short enough that I almost never listen to anything in the car during my commute. Longer drives to other places are a totally different story - unless I'm in the mood for silence, I'll pick an album or playlist, or simply turn on shuffle. (Actually, I have a Shuffle playlist that I use to balance out the listening experience. Things like the TOS box set just have so many dang tracks that they come up constantly in shuffle otherwise.)
  4. It's a synthesizer - Williams easily could have asked Kerber for a different sound for different takes.
  5. The expanded Sky Captain and the World of Tomorrow. Wow, it really helps to have some more of the quiet underscore in here...the OST is fun but it can be a little much as it rushes from one full-blast action cue to another. I like this presentation a lot better - all the best music was on the OST, but this album gives more time to breathe between those moments. Very glad I finally bought this!
  6. You guys don't hear it? Don't get me wrong, it sounds like it was written by Williams, and I certainly didn't intend to accuse him of lifting material from Giacchino, but I hear some definite similarities in the approach. I'm talking about pieces like "Labor of Love", "Your Father Would Be Proud", "Parting Words", etc. You've got 4/4 meter with chord changes at the start of each measure...heavy reliance on simple, steady quarter note rhythms in the melody, often ending phrases with longer notes...overall major tonality with strategically placed minor chords to add emotional richness or bittersweetness... (I didn't fully think through all those exact similarities till now; it was just a "feel" thing, but I think it stands up to objective analysis.)
  7. Twice so far for me...I was late to the TROS game, and I tend to space out my listens anyway. I quite like this theme and I think it serves the film well. It hasn't captivated me the way it has for some of you, but I do think it has a rather Giacchino-esque beauty.
  8. I disagree. I have a strong preference for complete releases - I'm more a fan of film scores than soundtrack albums - but I do respect and see value in also creating more concise presentations, particularly for scores that are longer or tougher to sit through. There's a big difference between an hour-long musical experience and one that approaches or exceeds two hours. That's a fact that long predates the advent of sound recording technology. I only get annoyed when I don't have an option to listen to the actual score from which the album was crafted. In my mind, they're two separate (though obviously related) things, and I like the freedom to choose between them.
  9. That sounds like paradise. I will happily pay the high price for a box set of all 9 scores in complete (and for the OT, remastered) form someday.
  10. There are elements of the JP OST that I really like, but the way the end of the film is handled really ruins it for me. I loooooove going from the triumphant conclusion of T-Rex to the Rescue to the peaceful piano solo that eventually leads to the full end credits. It's such a perfect way to wrap up the score; I can't fathom why they didn't take that route for the original album.
  11. Now that he doesn't use orchestrators anymore, he tends to include even more detail than he used to, but his sketches were already very detailed back in the OT days - plus there was verbal communication with the orchestrators as they worked.
  12. All good points in general, but I'm not really seeing the connection to this passage in particular. The Ark theme doesn't use the sort of harmonic language and instrumentation that you normally get with the type of music you're talking about. If anything, it's always struck me as a uniquely Western musical in-joke, using the so-called "devil's interval" to represent the Judeo-Christian God. For what you're talking about, I'd look more at the music for the arrival in Cairo or for the swordsman in the marketplace. @First TROS March Accolyte, you're not imagining the similarity between these. It's a B minor chord - just below the C minor chord heard in "The Map Room: Dawn" - and it's voiced very similarly. I'm guessing it's unintentional, born of Williams' familiarity with a wide range of orchestral works and there only being so many notes and so many instruments to work with.
  13. Just ordered all three of these on somewhat of a whim. I've been hearing about them for so many years, I figure it's time to see what all the fuss is about!
  14. I've never even picked up the DH2 soundtrack because of how much it underwhelms me in the film, @redishere, but the DH1 soundtrack is a different story. Some very nice writing there. "Sky Battle" is hands-down the best non-Williams Potter action sequence.
  15. I think the revised cue works way better, but I do have some fondness for the original as well. I prefer to keep the latter as a bonus track.
  16. My appreciation for the Sky Captain OST has waxed and waned over time, but I currently have enough fondness for it to warrant buying the expansion. I'm also hoping that the full score will allow a little more room to "breathe", since the OST can be a little oppressive in its enthusiasm.
  17. Yeah I'm excited, I've put off owning this score for way too long!
  18. On somewhat of a whim, I just ordered La-La Land's expanded Sky Captain and the World of Tomorrow and their big Planet of the Apes multi-film box set.
  19. In the broad strokes, this is a totally valid point...but I will point out that Williams rewrote the beginning of the credits for Empire - everything up till the Rebel fanfare. It's still the same idea, but he changed the key signature, he cut off the opening trumpet fanfare rather than letting it continue to the downbeat of Luke's theme, he gave the melody of Luke's theme to the trombones (and woodwinds) instead of the horns (and woodwinds), and he had to reconfigure the trumpet line that ascends up into the Rebel fanfare, which is still in its original key. This new version was retained for every film that followed. The changes are significant enough to be factors in this conversation, as are the differences in the performances and recording/mixing for each film. That being said, ANH is edging it out over ESB for me at the moment, though they're both extraordinary.
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