Breadstick Basilisk

That moment when John Williams low key says he learned and made his path as a composer in a Media Ventures environment. 

Someone ask Williams what his favorite John Powell score is

Aurora Borealis. At this time of year? At this time of day? In this part of the country? Localized entirely within this soundtrack?  

OK, this is awful. Sorry if I'm late to the party in bringing this up (?), but has anyone noticed the absolutely horrendous edit in the first track of ROTS? For comparison, here's the original mix (3:14 in both versions):
 
 
And here's the 2018 remaster:
 
 
Until I became acquainted with the ROTS score, as a youngster I actually assumed that that spot—the cut to what I later learned to be called "They're Coming Around"—was how it was recorded. I knew nothing about microedits and such; as a soundtrack novice, I thought that since the OST tracks differed from what was in the film, they must have been recorded specifically for the OST. The editing was that good, especially in this spot.
 
Not so, in the 2018 version! Sounds like somebody literally pulled the "Boys Into Battle" volume slider down with their finger. The original mix was great because they actually held over the pitch into the new cue, and didn't taper it off until the trumpets had come in with their lick. So in addition to the drums, you had this note that sounded entirely natural; it fit like a glove and like gave the illusion that it was all written that way.
 
But this on the other hand is some of the shoddiest editing work I've ever heard. A real shame, too, as the actual mix of the instruments sounds fantastic, in the prequels at least! But yeah, I was listening to this track and the abrupt volume drop really took me out of the moment. 

OK, this is awful. Sorry if I'm late to the party in bringing this up (?), but has anyone noticed the absolutely horrendous edit in the first track of ROTS? For comparison, here's the original mix (3:14 in both versions):
 
 
And here's the 2018 remaster:
 
 
Until I became acquainted with the ROTS score, as a youngster I actually assumed that that spot—the cut to what I later learned to be called "They're Coming Around"—was how it was recorded. I knew nothing about microedits and such; as a soundtrack novice, I thought that since the OST tracks differed from what was in the film, they must have been recorded specifically for the OST. The editing was that good, especially in this spot.
 
Not so, in the 2018 version! Sounds like somebody literally pulled the "Boys Into Battle" volume slider down with their finger. The original mix was great because they actually held over the pitch into the new cue, and didn't taper it off until the trumpets had come in with their lick. So in addition to the drums, you had this note that sounded entirely natural; it fit like a glove and like gave the illusion that it was all written that way.
 
But this on the other hand is some of the shoddiest editing work I've ever heard. A real shame, too, as the actual mix of the instruments sounds fantastic, in the prequels at least! But yeah, I was listening to this track and the abrupt volume drop really took me out of the moment. 

OK, this is awful. Sorry if I'm late to the party in bringing this up (?), but has anyone noticed the absolutely horrendous edit in the first track of ROTS? For comparison, here's the original mix (3:14 in both versions):
 
 
And here's the 2018 remaster:
 
 
Until I became acquainted with the ROTS score, as a youngster I actually assumed that that spot—the cut to what I later learned to be called "They're Coming Around"—was how it was recorded. I knew nothing about microedits and such; as a soundtrack novice, I thought that since the OST tracks differed from what was in the film, they must have been recorded specifically for the OST. The editing was that good, especially in this spot.
 
Not so, in the 2018 version! Sounds like somebody literally pulled the "Boys Into Battle" volume slider down with their finger. The original mix was great because they actually held over the pitch into the new cue, and didn't taper it off until the trumpets had come in with their lick. So in addition to the drums, you had this note that sounded entirely natural; it fit like a glove and like gave the illusion that it was all written that way.
 
But this on the other hand is some of the shoddiest editing work I've ever heard. A real shame, too, as the actual mix of the instruments sounds fantastic, in the prequels at least! But yeah, I was listening to this track and the abrupt volume drop really took me out of the moment. 

OK, this is awful. Sorry if I'm late to the party in bringing this up (?), but has anyone noticed the absolutely horrendous edit in the first track of ROTS? For comparison, here's the original mix (3:14 in both versions):
 
 
And here's the 2018 remaster:
 
 
Until I became acquainted with the ROTS score, as a youngster I actually assumed that that spot—the cut to what I later learned to be called "They're Coming Around"—was how it was recorded. I knew nothing about microedits and such; as a soundtrack novice, I thought that since the OST tracks differed from what was in the film, they must have been recorded specifically for the OST. The editing was that good, especially in this spot.
 
Not so, in the 2018 version! Sounds like somebody literally pulled the "Boys Into Battle" volume slider down with their finger. The original mix was great because they actually held over the pitch into the new cue, and didn't taper it off until the trumpets had come in with their lick. So in addition to the drums, you had this note that sounded entirely natural; it fit like a glove and like gave the illusion that it was all written that way.
 
But this on the other hand is some of the shoddiest editing work I've ever heard. A real shame, too, as the actual mix of the instruments sounds fantastic, in the prequels at least! But yeah, I was listening to this track and the abrupt volume drop really took me out of the moment. 

OK, this is awful. Sorry if I'm late to the party in bringing this up (?), but has anyone noticed the absolutely horrendous edit in the first track of ROTS? For comparison, here's the original mix (3:14 in both versions):
 
 
And here's the 2018 remaster:
 
 
Until I became acquainted with the ROTS score, as a youngster I actually assumed that that spot—the cut to what I later learned to be called "They're Coming Around"—was how it was recorded. I knew nothing about microedits and such; as a soundtrack novice, I thought that since the OST tracks differed from what was in the film, they must have been recorded specifically for the OST. The editing was that good, especially in this spot.
 
Not so, in the 2018 version! Sounds like somebody literally pulled the "Boys Into Battle" volume slider down with their finger. The original mix was great because they actually held over the pitch into the new cue, and didn't taper it off until the trumpets had come in with their lick. So in addition to the drums, you had this note that sounded entirely natural; it fit like a glove and like gave the illusion that it was all written that way.
 
But this on the other hand is some of the shoddiest editing work I've ever heard. A real shame, too, as the actual mix of the instruments sounds fantastic, in the prequels at least! But yeah, I was listening to this track and the abrupt volume drop really took me out of the moment. 

First clip of the score, for real this time:
 
 
Some awesome quotes of existing material. And is that a new theme I hear? Maybe Han's?
 

First clip of the score, for real this time:
 
 
Some awesome quotes of existing material. And is that a new theme I hear? Maybe Han's?
 

I just wish they'd have recorded "Harry's Wondrous World" in place of "Hedwig's Theme".

First clip of the score, for real this time:
 
 
Some awesome quotes of existing material. And is that a new theme I hear? Maybe Han's?
 

First clip of the score, for real this time:
 
 
Some awesome quotes of existing material. And is that a new theme I hear? Maybe Han's?
 

It's not just you; you're right. I leaned over to my friend within a few seconds of them starting and told him that some of the musicians were off a measure. He heard it too.

Well, it was released the year I was born. So I wasn’t exactly in a position to see it when it came out.

It doesn't get better than this. The actual theme hits at 1:03, but start with the build-up at 0:57. One of my favorite spots in any of the SW scores. It's only the beginning of the theme, but that brassy horn/trumpet unison combo with the offbeat trombones is incredibly addicting.
 
 

It doesn't get better than this. The actual theme hits at 1:03, but start with the build-up at 0:57. One of my favorite spots in any of the SW scores. It's only the beginning of the theme, but that brassy horn/trumpet unison combo with the offbeat trombones is incredibly addicting.
 
 

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.

If you listen closely you can hear J.J. Abrams sobbing

If anyone's curious, I did a little feature with the local Boston NPR station on The Last Jedi score and Star Wars music in general. (I actually thought I was going to be talking about all 5 Oscar Nominees, but they just wanted me to talk about SW! No problem there). They cut down about 100 minutes of me talking about the score to 13 minutes of highlights, but I'm pretty pleased with the results. And forgive me, purists, for changing one note in the Luke & Leia theme as it appears in The Spark from Db to C! I'm too used to the original (correct, I dare say ) structure of the melody at that point which uses the leading tone instead of tonic pitch. Oh well...
 
http://www.wbur.org/radioboston/2018/03/02/music-star-wars

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.

The comments on that article are cancer. I can't stand snobs who feel the need to bring out the age-old "copying" accusation every time they see Williams' name mentioned.