Holko

I'll be on the Discord to jump if @Bilbo says it's starting, ready to record - closing bleeping tabs this time.

It's more like if Mothra grew into a third and final form. Larva>butterfly>winged mantis

The last remaining clone batallion was the 501st, Vader's fist, who were deployed in the Battle of Hoth and I think Endor, too.

They aged quickly but were also intentionally phased out since Palps didn't trust them (khmm Order 66), so gradually after he came to power.

Well it's more for his process of realising Dracula is a vampire, I purposefully referred to it as the Investigation motif.

Much to learn about JWFan you still have.

I love this phase of getting to know a score. One listen per day (or two days) until I start being able to tell the less prominent tracks apart and notice some little things like the Investigation motif already beginning in Dracula Meets Van Helsing.

Ever since the CE3K set came out, there was unsurity what exactly for example 2-19 Dark Side of the Moon was (the full sequence of cues is longer than in the film, but there's an unscored quote mentioing the Dark Side of the Moon), but here you mention it twice: Once you say its entire duration (1:34) is 14M1X Outstrech Extension, but once you write its final 43 seconds are 5m1AB Wild Mountain Tone Alt, a wild recording that is an alternate of The Vision from 1-01 Main Title and The Vision. Is 14M1X only the first 0:52 of Dark side of the Moon?

It's like the LLL CE3K how you can play Roy and build your interpretaton out of what's provided: You can try out what Mike does and extract the conversation so you can enjoy it!

I do really like how they quickly illustrated wrong speeds, hiss and wowing with Sound of Music!

That's the thing, it won't start shipping for a week at least.

Ask Stefancos about that.

The one JW wrote is a more 1900s waltz plaing on a gramophone, terribly distorted and buried in-film. La Cumparsita is a tango, and Wiener Wald is a Strauss waltz. What's interesting about the latter is it again starts as terrible gramophone quality in-film, then transitions to a more clear, real quality. They're all pretty short, especially the JW one, if that's basically all that was recorded, it's no biggie at all, but we know what the Jaws source cues are like. But they're all found and archived, that's the most important.

I'm not too miffed about it, the Varese assembly is great, but any particular reason the source cues were not included, especially the apparently Williams-written Pre-Dinner Music? Did Williams veto them, were they not on the sources or did Mike decide they were a hindrance to the experience and would feel tacked on? I'd understand and accept either of these, but a voice inside me just keeps whispering "unreleased Williams source, unreleased WIlliams source"...

Yes, it's all tracked as far as I remember, some puzzling choices.

I can barely even think of the LotR scores as cues in some order, it's a breathing fabric of melody and texture and it just is the way it is. Only one or two necessary evils dent it in RotK.

Just looking over the tracklist for the order when I see The Train Station and The Flying Car! Hell yeah, transition recreated. Aragog could've been merged with Spiders Attack, though. And mabe with Follow the Spiders while we're at that. And some other CoS pairs.

There's switching around of some basically unknown cues in Azkaban, but that's all I've noticed.

In this Potter tracklist, at first I was semi-baffled to see so many sessions cues separated that I've grown to know as one from the most prominent fanedit(s), and work quite well when joined, so weirdly it'll be more of a move back to that session form from the listening experience. Oh well, I'll see what it's like.

Only on one of the 3 (or more like 2 really) out-of-order combination cues, Grave Trampling and the Asylum, which works wonderfully. Would you really want to put the crazed Asylum cue between The Dining Room and First Kiss? It serves no real purpose there other than disrupting the mood and flow. It can be case-by-case and in this one I think no mistake was made at all, as for the order whithin the track, I think the bombastic Grave Trampling works better as an introduction to the Investigation motif than The Asylum's "ostinato".

If the cues are short and relatively inconsequential, it doesn't stick out at all until you start looking at the cue list and what's what, like with Dracula. Until it doesn't majorly interfere with chronology and planned thematic or mood development, and the cues are still separable if somebody REALLY wants to C&C it, I say it's perfectly fine, and Mike usually does all this.

Absolutely.

In the films, the main character doesn't even cast a single spell until halfway through the second one!

Well... yes, I didn't say the second one doesn't have any!

It's just Elfman being Elfman, the first one is full of iconic cues!