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  1. Yeah, that there was a major reason for why I pretty much had dropped off for a good bit. Even when those things weren't in focus, I just didn't find it a particularly appealing environment with them around much of the time. And yet the energy could be appealing in very specific small bursts, so I suppose I could see why Jay wishes they could reform (which probably should be an attitude more people have in general). I can only echo what others have said about feeling like I'm not proficient enough in my words to get across what I want to talk about. Though a greater issue for me is that I'm too depressed to really want to push myself to engage in more media or learn about key subjects of interest. As such, I kind of exist in this limbo where I know what I should fix, but essentially just refuse to shift even slightly. It's going to take a while, but I do have hope I can manage myself better.
  2. It's not the program that is the issue, moreso the drives, since there's an odd amount of CDs where it has an error on one or another. It gets amusing thinking about it, since I technically have had to rely on 3-4 drives to get much of my collection ripped.
  3. I'm going to assume it's because Steve Whitmire has been his sole portrayer thus far, and the company likely are already having enough trouble in replacing Kermit as is. Then again, he seems like a normal enough sounding character that it shouldn't seem so hard to get a suitable replacement (though things like comedic timing and on screen rapport with the others are probably as important).
  4. Well, as a result of Monsters In Motion and SAE not having units in their inventory, I had to resort to Discogs to pay extra to own a copy. Can't say I'm too miffed about it, since it's only going to get more expensive overtime (plus it's still cheaper than owning either of the original solo releases). It's definitely a pretty set, with the only qualm being that a tiny bit of the plastic broke off on the side. Now, listening to this set certainly did a surprising amount to better help me assess my feelings on both scores, given how much I would've already listened to them for a fair bit. 89 in particular I thought was pretty solid for both presentations in spite of what's missing or how some tracks sound. The main titles are certainly a bit iffy, and there are points where you can hear the limitations of the recording or that it gets a bit much with the stereo plane, but I think it sounds pretty decent otherwise. I don't have an overall preference between it and the OST mix (though I definitely prefer the former for key cues thanks to listener bias). Returns is a completely different story, however. I don't understand how people can say this exact configuration is already perfect, since I find it's fairly lifeless as is. In stark contrast to 89, the OST absolutely sounds better than the expanded (both the original master and the Elfman/Burton remaster). Not to mention that I just don't find any of the missing cues do much to add to the score, since the initial presentation works strongly as is. I used to think this was the better score between the two, and I could certainly return to that opinion down the road, but currently I just find it a bit hard to appreciate as a whole. So if there does end up being a more refined 89 release, I might actually sell this set. I just don't care for Returns enough to want to keep this particular version of it. That being said, I'm only now getting the hang of repeatedly listening to key scores, so I'm open to seeing how I feel by then. (Oh, and I bought Forever for a really good price right after, so that's nice.)
  5. This is probably the largest and most priciest lot that I've gotten from any label so far, given I'm used to only getting one score and often on discount. Two of these gave me a bit of a hassle to rip, presumably thanks to disc drive quirks. Had to essentially rip Eiger and RH twice as a result of one disc from each giving issues from whatever drive I used (the former on my PC, the latter on an old Mac Mini). Certainly nothing compared to the prior issues two of those releases have had, but it's funny how that happened.
  6. Haven't been great about posting much of my soundtrack buys here, but I think this particular lot warrants posting a few days later:
  7. Both, since it's a small amount of tracks spread throughout that are affected (which likely is why such a thing wasn't announced or even mentioned, since multiple discs presumably would be costlier to openly offer replacements for). Do tell if they get back to you, since it certainly surprises me to hear they went to the effort with how much I remembered being told it wasn't considered a big deal back then. It'd be nice to have fixed discs, given how easy it could be to lose ripped files.
  8. Also, doesn't Zimmer have his next tour lined up? Granted, that probably wouldn't stop him from throwing in a few projects in-between, but I imagine he'd want to purely focus on that for the time being. The lack of much else that's been announced for the following year makes me think this currently.
  9. Yup. Mainly because they would've already been chosen in advance, with very little time to change them after they were decided on in the midst of recording. You can see how absolutely random it can be in this breakdown:
  10. So...... has anyone tried asking what would happen if Episode X didn't release? Or if it did, how obvious it'd be that it was made many years later? He's gonna do the reshoots argument, isn'r he?
  11. I'm surprised there's no credit for the Vesper theme, given it's now been confirmed to be very much intentional. Perhaps in the film, but neither website that I check for that info has been updated yet.
  12. Weird. I guess the real question now is if it's like that in the film, given what's already been mentioned about the Main Titles earlier in the thread. For my fix of the cue, I had used one of the "session" mixes (I'll make a post later about how phony that bootleg actually is), none of which had that "error" to my recollection. The Burton/Elfman version had too different of a mix in that section to pull it off, and (more superficially) none of the Intrada alts lined up waveform wise to warrant using. Didn't want to use the OST copy either, given its supposed mastering differences.
  13. Uh, I thought the thing with Marvel was that their characters didn't die often (which is a whole separate issue). Unless we're talking strictly about it being a trick they use specifically in grand finales, to which: is that even a recent trend? I feel it's always been a thing for some big show to kill off its major players. Even then, given how self-contained and "subversive" the Craig iteration has been, I feel like it'd be odd to want to recast in a universe that already relies far more on continuity than the prior EON films. Assuming they want to wipe the slate clean to get things back to even more normal for the series, it's probably not a bad way of doing it in terms of making this specific version have closure. (Also, didn't "Blofeld" die in one of the Moore films? I don't want to hear the technicality of "they didn't name him on screen for legal reasons, so it doesn't count.")
  14. Ionic? Is that supposed to be a character in the secret Episode X that you've now suddenly forgotten about in admitting Disney has been pushing all these shows as their main focus instead? (That mind you have also been in slight flux with the departures of Benioff and Weiss for what was gonna be theirs, plus Carano allegedly having had one at some point pre being let go?)
  15. I haven't bothered with the full album, since the opening cues really sounded like nothing, but it frankly surprises me when no one has anything to say about this particular track. What's so "bad" about it?
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