CGCJ

Watched The Last Crusade and ROTJ this past weekend. Perfect autumn movies 
 
Knowing there's a site I can go to, to talk with funny, intelligent people who all have a general respect for one another about anything and everything from either the score or film from those movies is awesome.

Man, did anyone bother listening to the separated left/right channels? The amount of delay is so much more apparent, especially in the right channel. Here's the isolated left and right in their respective order:
 
Sample.mp3
 
I did no editing to this aside from separating both channels. Yikes.
 
EDIT: Using the same delay for each channel, I was able to recreate the album version using only the film's center channel (I didn't add reverb  though). I am now officially stumped as to if they accidentally muted the center channel, or created some double-delayed Frankenstein edit. Although the fact that the audio in my first post was from the film audio as well seems to thicken the plot a bit.
 
test.mp3  <--- custom recreation, sans reverb
 
EDIT:
test2.mp3  <--- same file but now with added reverb

Totally baffling and cringeworthy explanation. Why would you INTENTIONALLY use a poor quality, seemingly damaged or erroneously recorded element, just for the sake of presenting a "different sound"? Surely you'd use the correct performance in at least one version of the credits if you're including 3 versions on the album? Leave the alternate takes for an alternate track but don't ruin all 3 versions!
 
If this is how take 46 sounded then it's more likely the tape was damaged or improperly recorded than it being a creative decision. I'm sure Shawn Murphy wouldn't be thrilled about this either, and I doubt anyone ran it past him.
 
I've heard some bizarre explanations for these things but I think intentionally making 3 tracks sound bad, just for the sake of including a different take, takes the cake.

I had not seen this post, thank you for the clarification. That's why Mike is one of the best, the fact that he corrected the problem himself, I can absolutely appreciate that and more album producers/masterers should strive to be like him. Any time I see his name attached to a project, I know it'll be done right.

After a bunch of searching I was finally able to locate Mike's explanation. Here's his direct quote:
 
 

Good thing I own them physically, I'll never have to worry about that.

Different film studios license more music to the specialty labels than others.  Why?  Who knows!
 
If you click open this thread, you can see the numbers of just the past 5 years of specialty label licenses
 
20th Century - 16 titles
Disney - 8 titles
MGM - 37 titles
Paramount - 70 titles
Universal - 70 titles
Warner Bros - 14 titles
 
Historically, there was a time when Fox and WB were the most prolific, and Universal and Paramount were completely shut.  Things change over time, and will hopefully continue to change in the future!

Honestly I'd rather have the opposite - the vast majority of the prequel music is available in good quality from the videogames, and the little that isn't is rippable from the films and is already nearly completely clean even without AI
 
Meanwhile there's absolutely nothing fans can do to fix the sound quality issues of ESB or ROTJ.

I believe it's the 5 note sequence from Close Encounters