CGCJ

Its sort of like if a version of the films was released that used flubbed takes or fragments of takes, with people forgetting their lines for a second, and coming in wrong, lower energy, awkward line reads, breaking character etc.
 

 

Yeah, if I was Matessino, I wouldn't bring up "incomplete" to the execs, but would sell them on the idea of legacy and preservation for posterity utilizing the best sources and the latest technology.

FYI, Matessino didn’t produce the 1997 SE sets. He supervised the assembly and wrote the liner notes. The producer was the late Nick Redman (who was kind of a mentor for Mike).

And, to add to @Holko's list, if you read through @enderdrag64's excellent ongoing OT cue-by-cue reviews, you'll see how many times the speed is wrong on the releases you're suggesting are already more than sufficient.

SW: wrong takes.
ESB: wrong mixes, not great sources
ROTJ: garbage sound caused by a mastering fuckup
 
Also missing alternates and inserts etc.
And all 3 could sound faaaaaaar better.

"Mr. Williams, there has been a murder at the Fox Scoring Stage. We would like you to lead the investigation. Can we count on you?"
 
"I'll look into it!"
 

#2.39 ESB (1980) - 11m2-12m1 Losing a Hand (Wook link)
 

And if you notice on every releases I put a link to official youtube playlists of the albums / tracks (click on "video" when it appears). Since I can't put audio on the website itself, at least people have an easy way to go check the scores. It's a win/win for the labels to get more views too lol.

I'm not so sure yet but I'll keep you guys posted here when someone is updated.

A choir model was added.

Some scores I just got the actual cuesheets in the meantime (not online research), so yes I try to update when that happens.

I don't see this killing off official soundtrack restorations or expansions because of unused and unreleased music; even if the AI tool is 100% perfect and you can make a beautiful sounding bootleg from a film, the best possible scenario is still that you've acquired stems; and as we all well know, stems are never a replacement for the music as recorded.
 
For the same reason, I'm not really worried about this technology being used commercially either. You could say, "why would a company pay for a new tape transfer when they can skip paying an archive album producer and just release an AI music rip for free?" But the studio most likely already has clean stems available, it's much easier to lazily release those (or rerelease an OST) than to even bother with the AI stuff. Any label that was going to go through the trouble of remastering a score from the original tapes is not going to resort to an AI isolation of the stems.
 
The primary impact I see this having on commercial score releases is that it will make it much easier to release scores where no elements survive. Something like Jane Eyre or Images could potentially see closer to complete releases using this technology. Additionally, older scores that only survive in mono could potentially be remixed and remastered in stereo, as @The Score Cleaner has demoed above with a few TOS cues

Some of this info is inaccurate

Superstructure Chase (or Space Battle as it was originally called) seems to match the film takes exactly actually, I just double checked. It does sound particularly bad on the album though due to the aforementioned sound quality issues.
 
As far as I'm aware there are no alternate takes available for any Return of the Jedi cues. Empire Strikes Back releases have no alternate takes either, except for City in the Clouds which had a different take from the film on the original album. It's the original film where every release is full of wrong takes and several film takes still haven't been released properly.
 
For Empire Strikes Back a couple cues are missing in their film mix form and there are some unreleased alternates. And Return of the Jedi has the sound quality issues mentioned above.

I'm also not a fan of the SE album programs of ESB and especially ROTJ, I don't particularly like the 12 minute long tracks that string five or more cues together.
 
All that plus the missing source music from ROTJ and the missing alternates from all three are the main things that justify new expansions. Some of the unreleased bits can be heard in the old 80s-90s radio/audio dramas, it's pretty cool to be able to hear all the inserts on their own

https://www.facebook.com/share/p/1FARmW7Vgg/?mibextid=wwXIfr
 

That’s five (!) JW titles by my count.

#2.38 ESB (1980) - 11m1 Through the Window (Wook link)
 

#2.37 ESB (1980) - 10m3 Chewie Chokes Lando (Wook link)
 

JW is not the reason why those haven’t been expanded thus far. Aim your disappointment to the actual owners of the assets!

its actually so fucked up that as JW fans, we consider complete SW and Indiana Jones as dreams (no offense 1977, it IS legit a dream at this point)
 
ffs, Stanley and fucking Iris is complete, yet I can't hear The Holy Grail from The Last Crusade!?!?!

Chris Siddall has uploaded another transcription for the Last Crusade revealing some previously unknown cue information!
 
Scherzo For Motorcycle:
7m2a Fun in the Boathouse
7m3 The Motorcycle Chase

Tristram Cary's music for 'The Dead Planet' is brilliant, as is Don Harper's, for 'The Invasion'
 

Actually I was making some spreadsheets a while ago and I was really surprised how little music from the Berman era has been released still

TOS got that complete box set, and all the movies got expansions - but TNG-ENT are actually very imcomplete despite all their releases so far.
 
TNG is the closest to complete, there's several complete episode scores available especially thanks to the Ron Jones Project. And yet even still out of 178 episodes of the show, only 48 of them have complete score releases (40 from RJP, 2 from GNP BOBW expansion, 2 from GNP EAF/AOF, 4 from LLLv1). There might be a couple extra on the LLLv2 set but it's hard to tell because we don't have complete cue lists for most episodes either (only the Ron Jones Project and LLLv1 releases came with cue numbers, we also have cue numbers for most Jay Chattaway cues thanks to his sheet music collection at West Virginia University). 
 
All the other shows fair even worse. DS9 and VOY are very sparsely released due to having a similar episode count and only getting two 4disc volumes each (plus the FFC). ENT is a little better off due to having less episodes, but there's still not a single complete score available for that entire show unless you count bootlegs. (note: we do also have a little extra cue info for ENT because BMI contains cue titles for every episode that Kevin Kiner worked on)
 
 
Not to mention that most of the sets I mentioned above including the Ron Jones Project, and most of the LLL volumes for the different shows are OOP and absurdly expensive now

If I recall correctly, with TFA, there's at least one known instance of BR re-sketching JW material verbatim. I don't know why they did it that way, but it makes it even harder to know exactly how much came from BR's brain. A passage written in BR's hand could still be JW through and through.
 
My impression is that BR has a great understanding of JW's musical vocabulary. That doesn't mean he could go off and write a bunch of brand-new cues that sound exactly like JW. But I think JW can give him some combination of verbal description, piano demo, references to stuff JW already wrote, and/or new loose sketches and rely on BR to do the time-consuming work of writing out all the individual notes. Then BR shows JW the results so JW can further shape them if needed. Meanwhile, JW uses the time BR has saved him to write cues that are less connected to material he's already written.

FYI, when Tim and I spoke with Bill Ross a few years ago for FSM Online, he shared a nice story about JW being very complimentary with him after the premiere of Chamber of Secrets. Whatever Ross has contributed certainly left Williams very happy with the final result.
 
 
What has leaked are the finished sketches that JAKMS used to create the full score and parts; some of them are clearly BR's handwriting albeit the cue sheet credit is JW. It could very well be that Bill took the pencil after JW's preliminary/basic sketches and then fleshed out the cue after that initial pass.  
 
On a general note, the help JW got from Ross on several occasions isn't anything remotely similar to ghostwriting or exploit of uncredited work, like drawing wavy lines on the score with a mere explanative adjective like "make it brilliant!", or something like that. It's more like giving some of the sartorial work to a very trusted and competent finisher.

The sheet music confirms he wrote a chunk of the score, although often times it flip-flopped between him and JW (i.e. he would write a cue, and then JW would make adjustments or vice versa; someone with more expertise on the sequel scores can probably elaborate on that better), and of course did a large portion of the conducting. It's still a JW score, so I'm not saying he did enough work to warrant a co-composer credit or anything too drastic, but I'd consider him an additional composer on each of those scores. And Dial of Destiny of course.

I've gone through the series 10 soundtrack, here's a breakdown of where the included cues are in the episodes: