HunterTech

Yeah, I just checked it: the cues for the final duel (6m05a Duel Intro and 6m05b Challenge Duel) aren't in the OST either. I was hoping that at least one of them would feature in an abridged version in the OST track Finale, but nope, that track has the actual cue named Finale (6M06) and on the final three minutes left is just the troll market source music. 
 
That said, I was listening to the missing tracks today and I found out that Duel Intro and Challenge Duel are the only action cues in the score that feature a proeminent electric guitar. It's a nice thing that sets them apart from the other action cues. But I wonder if this guitar is precisely the reason why they went unreleased. Maybe the labels couldn't pay for the guitarist who performed on the cues? A similar situation to the missing choir in stuff like Giacchino's Star Trek?

I thought Elfman's JL score was very underrated. Sure, it may be him on his autopilot action score (kinda like Age of Ultron), but I still think it was pretty decent. Nice themes, fun action and even some emotional moments.

I just received this email from Craft.
Note the expiration date of the discount coupon😒
 
 
 

It's definitely an interesting pick. I certainly appreciated how varied Nope was in its sound, even if the standout track was one that he'd already written years prior:
 
 
 

It's definitely an interesting pick. I certainly appreciated how varied Nope was in its sound, even if the standout track was one that he'd already written years prior:
 
 
 

If Bob Iger can fully admit they've probably made too many sequels while still deciding to push them anyway (while also hastily repurposing a TV show into a theatrical film without even having much of the original talent involved out the gate), I really doubt the rest of Hollywood is that much better about creative control if that's how the top dog is currently doing things.
 
Also, for two fairly different creatives (Ruben Fleischer and Andy Serkis) to make the stylistically similar mush that are the Venom movies tells me that their vision probably didn't survive the final cuts much for those either.
 
Plus I do think Dakota Johnson has said that the original script she read got thrown out, so who knows how much the story has gotten changed during production.

A shapeshifter isn't where you'd want to explore the idea of having a flexible identity? I kind of figured the whole point of this mutant (hell, superhero in general) thing is that your power informed your character. So does it heavily rewrite a character by making that a part of them? I would understand it if this were Mystique, who is much more established in media, but Morph is a separate character with a similar ability, so you probably would want to distinguish them more.
 
Plus, the Fox run already wasn't above considerably rewriting characters depending on the series/film, so I've been used to different iterations of certain mutants. I understand not wanting to push it to the point someone is neigh unidentifiable, but nothing is suggesting a considerably altered personality so far.

A shapeshifter isn't where you'd want to explore the idea of having a flexible identity? I kind of figured the whole point of this mutant (hell, superhero in general) thing is that your power informed your character. So does it heavily rewrite a character by making that a part of them? I would understand it if this were Mystique, who is much more established in media, but Morph is a separate character with a similar ability, so you probably would want to distinguish them more.
 
Plus, the Fox run already wasn't above considerably rewriting characters depending on the series/film, so I've been used to different iterations of certain mutants. I understand not wanting to push it to the point someone is neigh unidentifiable, but nothing is suggesting a considerably altered personality so far.

Because mutants totally haven't been an allegory for the outcasts of society for most of their history 
 
(I legit can't fathom how people sincerely think this franchise has never tackled those subjects, as if the opening of the first movie/First Class and the one scene from X2 doesn't exist)

A shapeshifter isn't where you'd want to explore the idea of having a flexible identity? I kind of figured the whole point of this mutant (hell, superhero in general) thing is that your power informed your character. So does it heavily rewrite a character by making that a part of them? I would understand it if this were Mystique, who is much more established in media, but Morph is a separate character with a similar ability, so you probably would want to distinguish them more.
 
Plus, the Fox run already wasn't above considerably rewriting characters depending on the series/film, so I've been used to different iterations of certain mutants. I understand not wanting to push it to the point someone is neigh unidentifiable, but nothing is suggesting a considerably altered personality so far.

Because mutants totally haven't been an allegory for the outcasts of society for most of their history 
 
(I legit can't fathom how people sincerely think this franchise has never tackled those subjects, as if the opening of the first movie/First Class and the one scene from X2 doesn't exist)

A shapeshifter isn't where you'd want to explore the idea of having a flexible identity? I kind of figured the whole point of this mutant (hell, superhero in general) thing is that your power informed your character. So does it heavily rewrite a character by making that a part of them? I would understand it if this were Mystique, who is much more established in media, but Morph is a separate character with a similar ability, so you probably would want to distinguish them more.
 
Plus, the Fox run already wasn't above considerably rewriting characters depending on the series/film, so I've been used to different iterations of certain mutants. I understand not wanting to push it to the point someone is neigh unidentifiable, but nothing is suggesting a considerably altered personality so far.

Because mutants totally haven't been an allegory for the outcasts of society for most of their history 
 
(I legit can't fathom how people sincerely think this franchise has never tackled those subjects, as if the opening of the first movie/First Class and the one scene from X2 doesn't exist)

Given labels have been upfront about how approvals from studios can really fuck over when releases come out (we're seeing this with Nightbreed and Octopussy), plus the fact every previous edition of Inchon has sold well for them, I really don't know why we must ultimately remain angry that they're basically doing what they can to keep doing business. Could things have been handled better? Sure, but I at least appreciate the transparency versus baselessly speculating that re-releases like these are purposefully designed to swindle the consumer.

I think to summarise this debate, we can reflect on the duality of man, and say that while Yavar and Marian have convinced our minds with their objective analysis, astute observations, and cold logic, JTW has won our hearts as a victim of the money-hungry music market which, if allowed free reign, will suck every last penny from the pockets of loyal customers. 

So you'd rather they spend money on making all of that slightly different? That would definitely be bad business.

Do we definitively know how expensive it is to transfer tapes? Because I know for the LLL HP box set that they only worked with digital sources for CoS and PoA, despite there existing analog recordings for them as well. So even if they had considered using the current source then, I'm not sure if their budget would've made it plausible to transfer every available tape at that time.
 
As for what I think of this new master as an unfamiliar listener: comparing the samples to the excerpts you can hear for the 2020 edition on the Qobuz website, it definitely sounds different, but I'm not sure about better. It's considerably brighter, which certainly gives it a bit more life, but at points to a degree that is kind of the polar opposite of the previous edition. The bass and mids feel a bit diminished as a result, but that honestly depends on the sample, because this nearly seems like Conan levels of inconsistency in terms of the track to track sound. Maybe I'd need to listen to the previous edition in full to get a concret idea, but suffice it to say that I'm not quite sure if this is the considerable upgrade the marketing is selling it as.
 
This has honestly made me more interested in actually listening to the score, since I guess soundtracks with this many differing releases tickle my fancy a little in terms of the audio itself. Plus it gives me another Goldsmith to consider purchasing, so the usual "it's there for those who missed it prior" spiel applies here as well (even if the digital release basically throws a wrench in that if you only care about the contents itself).

So you're demanding a capitalistic business effectively lose money because it'd be the honorable thing to do. Good luck.

Well now we're just restating the same arguments over and over again.
 
If you accuse Intrada of 'bad business' then you have to accuse LLL of it multiple times. It's just unfortunately how this business works sometimes. To what extent was LLL's original Hook a deception? Should they send me a free copy of that just because I got the original? Of course not. They worked with what they had at the time.

Do we definitively know how expensive it is to transfer tapes? Because I know for the LLL HP box set that they only worked with digital sources for CoS and PoA, despite there existing analog recordings for them as well. So even if they had considered using the current source then, I'm not sure if their budget would've made it plausible to transfer every available tape at that time.
 
As for what I think of this new master as an unfamiliar listener: comparing the samples to the excerpts you can hear for the 2020 edition on the Qobuz website, it definitely sounds different, but I'm not sure about better. It's considerably brighter, which certainly gives it a bit more life, but at points to a degree that is kind of the polar opposite of the previous edition. The bass and mids feel a bit diminished as a result, but that honestly depends on the sample, because this nearly seems like Conan levels of inconsistency in terms of the track to track sound. Maybe I'd need to listen to the previous edition in full to get a concret idea, but suffice it to say that I'm not quite sure if this is the considerable upgrade the marketing is selling it as.
 
This has honestly made me more interested in actually listening to the score, since I guess soundtracks with this many differing releases tickle my fancy a little in terms of the audio itself. Plus it gives me another Goldsmith to consider purchasing, so the usual "it's there for those who missed it prior" spiel applies here as well (even if the digital release basically throws a wrench in that if you only care about the contents itself).

Do we definitively know how expensive it is to transfer tapes? Because I know for the LLL HP box set that they only worked with digital sources for CoS and PoA, despite there existing analog recordings for them as well. So even if they had considered using the current source then, I'm not sure if their budget would've made it plausible to transfer every available tape at that time.
 
As for what I think of this new master as an unfamiliar listener: comparing the samples to the excerpts you can hear for the 2020 edition on the Qobuz website, it definitely sounds different, but I'm not sure about better. It's considerably brighter, which certainly gives it a bit more life, but at points to a degree that is kind of the polar opposite of the previous edition. The bass and mids feel a bit diminished as a result, but that honestly depends on the sample, because this nearly seems like Conan levels of inconsistency in terms of the track to track sound. Maybe I'd need to listen to the previous edition in full to get a concret idea, but suffice it to say that I'm not quite sure if this is the considerable upgrade the marketing is selling it as.
 
This has honestly made me more interested in actually listening to the score, since I guess soundtracks with this many differing releases tickle my fancy a little in terms of the audio itself. Plus it gives me another Goldsmith to consider purchasing, so the usual "it's there for those who missed it prior" spiel applies here as well (even if the digital release basically throws a wrench in that if you only care about the contents itself).

Well firstly, 'no matter how much it costs them' could result in the business folding. I appreciate that the general vibe around here is that Intrada is the most incompetent company in the world, but 'at any cost' is a destructive way to see things.
 
Second, a reissue is not the same as saying the old one is 'no good anymore'. If you were happy with the sound of the 2020 one then what you have doesn't suddenly become a load of noisy rubbish just because a slightly better one emerges. When Mike re-did Home Alone I had a skim and decided whatever increase in quality there was, it was nowhere near noticeable enough to rebuy, yet it was enough for them to do another version.
 
Based on these responses, any label that found tapes in the one unreachable corner of the warehouse they hadn't looked, just wouldn't bother.
 

I hope no time is too soon for this. I wouldn't want to miss out on eventual/potential proper SW releases just because someone decided it's too soon after Disney's umpteenth re-release of the old versions.

I know our sense of time has gotten severely warped in recent years, but is four years really too soon for this? Poor LLL had to deal with getting the better Die Hard materials after barely just repressing their previous edition of the score. It's kind of where the ill-conceived notion of labels deliberately withholding stuff came from for some, even.