HunterTech

In terms of amps, the Schiit Magni 3 is always one that I hear is a great entry point for them. Of course, you could always go for one of their more expensive models if you really want something worthy of a great set up. The DAC side of things I'm less sure about, since quite a few within my audiophile circles tend to not recommend anyone go past the Apple USB-C to 3.5mm adapter, given the contentions over if anyone could actually tell the difference between lossless and HQ lossy (let alone CD quality and Hi-Res). That's probably something I would have to ask about, even if I suspect an actually decent solution would be insanely expensive.

I'm willing to give Hooper some leeway, since I feel Yates really screwed over Desplat in terms of the kind of scores he could've given to the franchise (which I guess makes JNH a bit of an anomaly).

Eh. Complicated as my feelings on the franchise may be currently, there's too much there that worked for it to not be remembered for a lot of positive reasons. The music is certainly the easiest to divorce from it, but it's too ingrained into pop culture for it to drop off so easily without the author actually committing a heinous crime.

I mean, man's no stranger to scoring some serious stinkers, given he's got Gigli in his discography.

Funny, because a different listing also sold the release for cheap, but was fully transparent about it being in broken cases. I guess in this instance, the lightweight shipping is more to blame for the damage. In any case, I have been offered the $19 price, so......

So has anyone been able to verify this as a legit listing? I most likely don't have any real reason to question it, but that many copies available is a bit strange to me for an OOP title.

I'm very well aware of the separation, and yet I do have to ask: isn't there usually a lengthy silence at the end of the last main track to designate the end of a section? Because there isn't one in the last orchestral cue, so it definitely flows as if it's all supposed to be played in one go. Admittedly, I do think I'm maybe projecting past frustrations people have had with this particular kind of presentation (mainly with Apollo 13), since I certainly would've preferred it just be in chronological order. Plus, listening to the set again just now, there's enough added to the synth version that it barely manages to keep itself from feeling too redundant. I guess I'd just like to know more about the thought process is all.

Received these fairly quickly after the Mancini set started shipping. As expected, the main highlight is the improved sound quality. There’s so much detail within the highlight tracks that you couldn't really hear much on the BSX release. It's such a glow up that I'd say it even surpasses the album master (which I'm a little more unsure about in regards to the copy present of it here). The orchestral Kamen cues are definitely welcome, but I kind of feel like the excerpts on the prior expansion was solid enough, since the remaining added material didn't really do much for me. Of course, I expect to feel differently on a subsequent listen (especially since I heard it in a very unideal environment), as it took another go for me to appreciate that particular selection more. I did wish there was a cue list breakdown on both sets, since some of the sequencing decisions certainly intrigue me. Mainly with the HM set combining and splitting different cues, but also with one particular decision made on the MK set: It appears that they've put two versions of the same cue in very close proximity within the main program. I legitimately have no idea if this is because it actually plays twice in the movie, or if because Intrada figured people would treat the orchestral and synth cues as separate presentations. Regardless of that, it sticks out like a sore thumb, and I feel it would've been better off being in the extras section if the differences aren't too major. Lastly: I did actually find my answer, but not quite in the way I expected it. The alternative mix for Grandson of Web of Destiny is indeed pulled straight from the BSX release (the only track to do so, since everything else comes from the newer sources). But curiously: the main version of the track also has choir in that exact same section. Given it seemed to be the only major difference between both on the old set, I wonder why Intrada decided to keep it (especially since they didn't fix the glitch at 1:29). While the OST does contain a version without the choir, the whole album is such a different mix that the main version of the cue from the prior expansion could count as the one missing piece here. In any case, even with all these notes I've made, these are still very superb releases that I would recommend for anyone who has a large affinity for the music and wants the best presentation for it.

Buy every release 50 times just so it can actually be feasible for them to keep doing it

I'm more bothered by the idea that a smaller JW score is something that can't be appreciated, since a more piano led affair sounds fairly appealing tbh.

Might as well point it out before people assume I was trying to only fuel unnecessary speculation I think a few trying to want The Fabelmans as this sort of "grand finale" for the long history of SS/JW collabs is really setting themselves up for disappointment, since there's quite no way of knowing yet what they're trying to achieve here. It's a world of difference seeing the product for yourself instead of simply going off the descriptions of others.

Is it though? If JW wasn't able to do Bridge of Spies and RPO on account of being busy with SW, then is it particularly implausible that Spielberg would want their last collaboration to be lite on account of being busy with Indy 5 this time? Of course, it being a more personal film for Steven is the more likely reason it's turned out like it has (plus the schedules probably disproving much of what's speculated here), but I don't know if I'd think it's too far fetched of an assumption to make.

I'm kinder to Giacchino than some others, but the last thing I want is for him to get more MCU projects (especially when he's now directing one). All the new talent for the TV series is arguably the most interesting thing these newer phases have going for them.

I'm always amazed at how easily people could flip their lid over something that might not even mean anything in the final product (cause Disney still likely has to sell this to international markets after all). I don't know man, you try explaining to me why a forced romance would be any worse depending on the parties involved.

I'll pick Brad Bird on the basis that I find Incredibles, Ratatouille, and Ghost Protocol very fun to listen to (though I can credit Trevorrow and Watts for some very fun cues within their respective trilogies)