HunterTech

Because it was probably overused the last time the subject was broached

I could also point to the interview Young himself did in promoting SM3, where he explicitly pointed out Debney and Lurie as the only other contributors Sony brought on to the project.

It's literally credited in the music section of the end credits (which also mention that any cue by Elfman would've been pulled straight from SM1-2): https://www.soundtrack.net/movie/spider-man-3/ There is indeed a cue variant within one of the Lurie promos that has "Danny Elfman" as the sub title, but it's so different from everything else that I'm convinced it's an alt for last cue in Spidey 2 that Deborah decided to record for whatever reason.

An original cue, but looking back at the comment I was referring to, there's a good chance it's not actually by Kamen (especially if it's not in the film stem source). It's on the cue sheet, so I'm not sure if it's supposed to be a track that MK wrote that never got recorded, or if it's just there to indicate a spot that's taken already by someone else. This is an odd factoid, because in the midst of currently ripping my discs, I've been checking the spectograms of the files. And "Death Camp (Film Version)" sticks out a bit, because it looks like it was re-sampled from a higher

My CD will be arriving today (kind of miffed someone else got it first as someone who's a local resident here lol), but it's interesting to see all this info that didn't make it into the booklet presumably. The Fox CD with the film stems must've been the source of the bootleg, since Trent had mentioned it corresponding with what you heard in the movie. Which would mean one cue (3m4 Motor Bike) likely not appearing on this set as a result of what was available for them to use. In a lot of ways, I do want to hear what the score would've sounded like sans any electronics,

That one is a bit tricky to pinpoint, since a lot of the time, it more has to do with the geoblocking that can happen with official videos, based on what is available in each country. If anything, unofficial uploads actually can have more of a chance at future proofing (if they aren't taken down or also geoblocked, that is).

Actually, Mystery Men should be fairly easy to do, since only one cue or so got any particularly involved edits. It's more a matter of how the LLL set decided to organize the Warbeck section, since that presentation is out of order in areas. It's much easier to do with the boots that are out there, but I'm sure it could be managed with the official release. I enjoy Pope's work on Wolfman, but like Elfman with AoU, it definitely was designed more to supplement a different score than truly work as its own entity. This at least succeeds on being a self-contained listen, but it'd be fu

The thing with Wolfman is that with how heavily edited the score is in the final film, Pope's work is essentially designed to replace chunks of Elfman's work. As such, unless you're making a full blown film version or some sort of custom set, then there's no easy way of mingling the two without manually altering tracks. It doesn't help with how different the two composer's styles somewhat are, so there's gonna be a bit of a clash regardless of what you go for.

Providing download links for any kind of music (even stuff that isn't officially released) isn't allowed here. Besides, I've already pushed around circles regarding if there was a promo that contained Debney's material for SM2, and the trail remains cold there. You'd have to hope that the eventual official expansion (assuming Sony would be interested) would contain it at this point.

Given the plethora of extras, I wonder if the descriptions of most those tracks will point towards them having additions done by Badelt. I'm not sure how far legal issues can go to where you couldn't even acknowledge the final product having been tampered that much. Maybe Disney will have allowed them to fully disclose the production history on a film they essentially inherited. We'll just have to see.

Legal issues, presumably. This was right around the time proper cue credits started to become the norm for major Hollywood blockbuster scoring, so it wouldn't have been particularly widespread yet. It also doesn't help that, as a user on FSM said, the film crew had run into a major setback with the film having been moved up to May from its original December date, so the post production process became severely condensed. And given Kamen would've already starting being sick at this point, it's very likely he had to rely on Badelt's and others services to ensure that the whole project came out on

Yeah, they did a really good job of picking the less intrusive and more cohesive blends of the sounds. Honestly puts more into perspective which aspects of the style would've come from Kamen experimenting a bit. The Cerebro voices thing is actually the one area that likely was influential, since I know it's a trick Hans Zimmer likes using in some of his superhero works. I always wondered if it was a Badelt touch, since it isn't on the album version of the track. But given its lack of presence on his promos, it possibly could've been something MK or someone else in the team came up

Right. I just found it interesting nonetheless.

A bit odd of them to include Land of Tolerance as a sample, since it basically is a full reprise of Death Camp. At least we can now confirm that particular track didn't have electronics originally, so it'll hopefully indicate what areas Badelt would've been apart of for the film versions. Funny you say that, because the description actually lists both names for the studio! Not sure if that was intentional on their part or not.

Man, how long has this set been available? Feel like I've seen it be around before I even had an active interest in film music. In any case, glad to have bought this set back when LLL had their sequel sale. Kind of sad to see it go, but it was only time.