crlbrg

Me thinking about the possibility of purchasing ANOTHER version of Jaws on CD:
 

He did not mention anything, but there is footage of an elderly man in a wheelchair in LA hurling his drink at the screen during The Minecraft Movie.  

I was talking about her naked butt.  

Christmas 2001, I was 7 years old. My aunt had noticed that since seeing the film I was constantly humming the music from Harry Potter and the Philosopher's Stone. She gifted me the soundtrack album - naturally I didn't even know you could buy film score albums at that age.
This great gift absolutely started my obsession with film music and with John Williams. I still remember seeing the teaser trailer for Prisoner of Azkaban in the cinema and getting goosebumps just by hearing Something Wicked This Way Comes for the first time and just knowing it was new Williams music.
By then, aged 9 - soon to be 10 - I was already familiar with microedits, the disappointment of missing music on the OST, I had discovered the jwfan forums (and tried as well as I could to follow the discussions on here while still learning English) and I had also converted most of my friends and a lot of my family to John Williams fans themselves. Many of them still are to this day!
In fact, in a "full circle moment", my aunt is joining me at the upcoming Berlin concerts this June. Even if Williams won't be able to attend for whatever reason it will be full circle moment for us.

This was a bittersweet project for me, since it was the subject of my last conversation with Intrada founder Douglass Fake. I won't jump the gun by spilling any details about the new album, but this was one of Doug's favorite John Williams scores. I wish he was around to see the release reach like-minded fans, but I take some comfort in the fact that he had heard the master, read my notes, and seemed extremely happy with the way the whole production was shaping up. I hope everyone here will be as pleased as he was!

Nice job! Here's an attempt to balance the colours to pop a bit and make it less yellow:

Can't believe I failed to find the color version!
 
Revised cover:
 

There will be a contractual requirement that Gibson's credit needs to be x% size on the merchandise.
 
Same as the OST cover and Braveheart LLL cover.

Another take on the cover.
 

Idk why Intrada doesn't just hire me to do the covers.
 

 

Well it's a really low bar! But yeah, so far, not the worst. We can check closer when they release the high res one (600x600)!

Are you referring to the white font on an almost white background at the bottom, or to the crowded text at the top?

Always a bit sad when it's Intrada releasing something, since their art direction sucks. But at least with Matessino involved there won't be any fuckups with the music itself lol

No problem!
 
I reformatted chronologically:
 
1 - The Analog Era [everything through The Phantom Menace (1999)]
analog tape is the first generation original element, with rare exceptions such as the E.T. album recording day in 1982 (!).  Any specialty label expansions of scores from this era all used analog tape transfers as their primary source, sometimes supplemented with other bits (like ET's theme park music, or a DAT tape for Schindler's List bonus tracks) 2 - The Transitional Era
1999 - Angela's Ashes - Simon Rhodes - unknown 2000 - The Patriot - Shawn Murphy - unknown 2001 - A.I. Artificial Intelligence - Shawn Murphy - unknown if analog tape ran or not; 2001 digital mixes used for the film, OST, and LLL expansion 2001 - Harry Potter 1 - Simon Rhodes - 2001 digital mixes were only 24bit/44.1khz, so the original analog was transferred for the LLL expansion with Mike re-recreating performance edits from that 2002 - Attack of the Clones - Shawn Murphy - reddit AMA confirms analog ran, and was transferred for the 2018 demasteers, with Shawn Murphy's team using wrong takes in spots for the new performance edits 2002 - Minority Report - Shawn Murphy - the original analog was transferred for the LLL expansion with Mike re-recreating performance edits from that. 2002 - Harry Potter 2 - Simon Rhodes - the original analog tape is preserved perfectly; but the LLL edition used Simon Rhodes' 2002 digital mixes, which were higher resolution than Harry Potter 1's. 2002 - Catch Me If You Can - Shawn Murphy - unknown 2004 - Harry Potter 3 - Shawn Murphy - unknown if analog ran or not.  Shawn Murphy's 2004 digital mixes were used for the LLL edition 2004 - The Terminal - Shawn Murphy - unknown 2005 - Revenge of the Sith - Shawn Murphy - they wanted to record onto analog (Ampex 456), but couldn't locate enough stock, so its a fully digital recording 2005 - War of the Worlds - Shawn Murphy - analog tape captured every raw take in multitrack, but only as a backup (no mixes were saved to analog).  The 2005 Pro Tools session is the source of the film, OST, and Intrada edition 2005 - Memoirs of a Giesha - Shawn Murphy - unknown 2005 - Munich - Shawn Murphy - unknown 2008 - Indiana Jones 4 - Shawn Murphy - Analog (Quantegy 456) ran as a backup only, with the digital recording used for the film and album 2011 - Tintin - Shawn Murphy - unknown 2011 - War Horse - Shawn Murphy - unknown 2012 - Lincoln - Shawn Murphy - unknown 2013 - The Book Thief - Shawn Murphy - unknown 3 - The Digital Era [The Force Awakens (2015) to present]
There is no more analog tape run at all for certain.  This era could actually begin in 2013, 2012, or 2011 as we get more info.

All of Williams' scores were recorded onto analog tape as the primary 1st generation element all the way up through at least 1999, maybe even as far as 2005, even if they immediately made digital transfers to do the performance edits and/or digital album master.
 
We know for certain analog tape was running on Harry Potter 1 (2001), Attack of the Clones (2002), Minority Report (2002), Harry Potter 2 (2002), and War of the Worlds (2005).  The original analog tape was freshly transferred (meaning all performance edits created anew by Mike from this transfer) for LLL's releases of Harry Potter 1 and Minority Report, as well as the 2018 demaster of Attack of the Clones.  For LLL's Harry Potter 2, Simon Rhodes' 2002 digital mixes were used.  For Intrada's War of the Worlds, the original 2005 Pro Tools session was used.  On that score, the analog tape only captured the raw takes of every cue in multitrack, no mixes were ever preserved onto analog tape.
 
I have no information on if analog was running or not on A.I. (2001), Catch Me If You Can (2002), The Terminal (2004), Harry Potter 3 (2004), Memoirs of a Geisha (2005), or Munich (2005).  For LLL's A.I., Shawn Murphy's 2001 digital mixes were used.  For LLL's Harry Potter 3, digital mixes by Shawn Murphy from 2004 were the only element located during the album's production phase.
 
This leaves Revenge of the Sith (2005), which we know from the Reddit AMA that NO analog was ran.  They wanted to record onto Ampex 456 but couldn't locate enough stock!
 
For Indiana Jones and the Crystal Skull (2008), analog tape (Quantegy 456) was running as a backup only; the original digital recording is used for everything we've ever heard.
 
For Tintin (2011), War Horse (2011), Lincoln (2012), and The Book Thief (2013), I do not believe we have any information if any analog tape ran as a backup or not, but it's most likely that there was not.  For certain, the film and album mixes use the original digital recording only.
 
From The Force Awakens (2015) onward, there is certainly no more analog tape used at all.

Just about any of his improvisatory string passages like this are full of first and second species counterpoint, and that wonderful "Mozartian dissonance," to paraphrase Brahms, which is really derived out of the happy accidents of counterpoint.
 
 
A lot of stuff separates Williams from other film composers, but his counterpoint might be his most distinctive skill. It's a deficit I find in most, if not all, other film composers. Horner could be very good when he felt like it. Same, and unfortunately rarer, with Goldsmith. JNH has his moments. It's why Shore bores me to death, and why I think Elfman is a hack. Zimmer, thankfully, doesn't even try. 

Well, I guess he is still composing (letters).
 
https://www.abc4.com/news/wasatch-front/renowned-composer-john-williams-pens-letter-to-salt-lake-city-in-effort-to-save-abravanel-hall/

The way JW casually opens the letter with "I knew Maurice Abravanel" is absolutely badass.

@Miguel Andrade's review:
 
https://thelegacyofjohnwilliams.com/2024/06/17/bernstein-williams-violin-concertos/

"Damn, I missed her!?"
 

Baffling to me how a small scale score like this got to be recorded on 8-channel configuration (allowing a true stereo mix to be created), while the much bigger scale Jaws score only got a 3-channel split mono configuration (and with a bad tape stock).

Ordered!!!!!

Are you all happy now?

Sounds like the Spider Man 2 Pizza theme, nice!