enderdrag64

Worse than THE RISE OF SKYWALKER?
I think not!
At least it was directed by someone who gave the appearance of knowing what he was doing.

After episode 1 the expectations were lowered to a reasonable level, so I enjoyed it a lot in the cinema. It was actually the first time to watch an army of jedi knights in action. That was quite uplifting. Anyway, the whole arena part is great and unlike anything that we saw in the other movies.

Good times.  Remember going to Target to get the mystery track?  I went to Star Wars Celebration II in advance of the film by a few weeks, and it was an amazing experience.  Fandom was less divided, and the attendance wasn't out of control.  I remember the streets of Indianapolis were absolutely empty around breakfast time, and we saw Anthony Daniels, on his own, just strolling around by himself.  We figured what the hell, so we introduced ourselves, and he was delightful to engage with.  He was less rehearsed, less jaded, and genuinely happy to talk to us.

Albeit this is how it would appear on an official expansion (except without the virtual instruments, obviously )
 
 

The expansion can't come soon enough.
 
There's some great unreleased cues from this score, my favorite being this one:
 
 
Some of my favorite performances of Palpatine's theme and the Imperial March.

So we are waiting for an expansion of this score since... 20 years!
 
Cheers!

Not necessarily.
Pertwee, and Troughton (twice), returned, to work with JN-T. I understand that Capaldi has ruled himself out of the 60th, but I'm sure that Smith would want to participate.

It's official. Tennant and Tate are returning for the 60th anniversary story.

I enjoy listening to the tracks from The Pandorica Opens/The Big Bang a lot, they form a nice little sequence.
 
I also really hope Murray Gold gets around to releasing series 10, the score to World Enough and Time/The Doctor Falls especially is great.

You may try to buy one (there's a couple here). Otherwise there's no place to listen to it

My soundtrack infancy was essentially starting to notice prominent tracks from a large handful of movies that came out (mostly) in the very tail end of the 90s and start of the 00s. Jurassic Park, LotR, Gladiator, Potter, Shrek, Signs, The Mummy and more I'm no doubt forgetting.
 
So at least to start with, I would notice music in films and want to hear it as music. And I do mean literally the version I heard - my strong preference for exact film mixes (not edits) has been there since the start and I noticed alternate versions from the word go.
 
Nowadays I have a ton of albums that to me are concept albums as I've never seen the associated film or show. I also find that an indication of a good piece of music from a concept POV is whether I create a visual association, and how easily. If I'm listening to a cue and immediately start visualising a place or circumstance, that's a strong track. With others, nothing happens in my head when I listen it - it doesn't evoke anything. In those cases maybe it changes when I see the film and sometimes it doesn't.

Also, 10000 copies for a redo! We may joke about LLL releasing 49 volumes of 4 disc Voyager sets but it's actually insanely heartwarming to see a franchise owner entity be so supportive of specialty soundtrack releases, Star Trek has been handled really really well.

There is some further additional music available for As We See It on Johnathan Sanford's Soundcloud:
 

There is some further additional music available for As We See It on Johnathan Sanford's Soundcloud:
 

Because this got bumped up, I'm bored, and I like the techie stuff, here is the math behind semitones, cents, and transposition ratio, as well as a solution for converting between semitones/cents and the transposition ratio...
 
There are 12 semitones in an octave (i.e., halving or doubling of frequency).  To double the frequency of a tone or shift upward an octave (thereby cutting the length in half), you apply +12 semitones.  To cut the frequency in half or shift downward an octave (thereby doubling the length), you apply -12 semitones.  "Cents" are hundredths of semitones (e.g., -8.7 cents = -0.087 semitones).
 
Here's the equation for determining the output frequency based on an input frequency and number of semitones:

F1 = output frequency
F0 = input frequency
n = # of semitones
 
For n = +12, 2 raised to the power of (12/12) or 1 equals 2.  So the output frequency is twice that of the input frequency.  You have shifted the frequency upward one octave or doubled it.  For n = (-12), 2 raised to the power of (-1) equals 0.5; the output frequency is half that of the input frequency (downward one octave).
 
If you divide both sides by F0, you get the following:

The ratio of F1/F0 is referred to as the "Transposition ratio" in Sound Forge, "Speed Multiplier" in Audacity, and "Ratio" in Audition, as seen in the screen caps below in the spoiler.  A few notes about the different programs:
Sound Forge asks the user to enter the number of "Semitones to shift pitch by" and "Cents to shift pitch by" and allows for tenths of "Cents" to be entered (i.e., thousandths of semitones).  The "Transposition ratio" is automatically calculated based on the values entered for semitones and cents. Audacity asks that the user enter a "Speed Multiplier" value and does not provide the equivalent semitone and cents values.  Hence, the comments above for needing to convert between semitones/cents and the "Speed Multiplier" value (see below and attached spreadsheet).  The "Speed Multiplier" value is limited to the thousandths, meaning less precision than Sound Forge. Audition (like Sound Forge) asks the user to enter either the number of "Semi-tones" and "Cents" OR the "Ratio" directly.  You'll note that "Cents" appears to be limited to whole numbers, BUT you can enter a decimal value and get seemingly more precise "Ratio" values (out to the ten thousandths).  Also, the "Ratio" directly allows values out to the ten thousandths, but if you enter another digit, if will automatically round to the ten thousandths.  
 
For converting the semitones/cents values to Transposition ratio/Speed Multiplier/Ratio, I've attached a small spreadsheet.  Simply enter the semitone and cents values and the spreadsheet will do the calculation.  Make sure to include the negative sign, as appropriate.  Here's a sample of what the spreadsheet looks like for the first track of RotLA, which needs a shift of -8.7 cents according to a post on the first page of this thread:


 
Enter that calculated value into whichever software doesn't accept semitones and cents, and you should be good to go!
 
Convert semitones & cents to transposition ratio.xlsx

I thought it would be helpful to group all of John Williams' film scores by the studio that owns the rights. It helps to figure out what might be coming out by a label if they release some clues, etc.

Beyond that, it's just kind of interesting to see what studios John has worked the most and least for. And which studios have been the best and worst at licensing their properties out to the specialty labels.

This is basically an updated version of this original post here.

Bold = has not been expanded in the modern era
strikethrough = has been expanded in the modern era


Disney
20th Century Studios
1962 Bachelor Flat (Intrada 2008) 1965 John Goldfarb, Please Come Home (FSM 2001) 1966 How To Steal A Million (Intrada 2008) 1967 A Guide For The Married Man (FSM 2000) 1967 Valley of the Dolls 1972 The Poseidon Adventure (La-La Land 2019) 1973 The Paper Chase (FSM 1998 released can be improved upon) 1973 Cinderella Liberty (Intrada 2008 release was not expanded) 1974 Conrack (FSM 1998 released can be improved upon) 1974 The Towering Inferno (La-La Land 2019) 1978 The Fury (La-La Land 2013) 1982 Monsignor (Intrada 2019) 1986 SpaceCamp (Intrada 2022) 1990 Home Alone (La-La Land 2015) 1992 Home Alone 2 (La-la Land 2012) 2002 Minority Report (La-La Land 2019) 2013 The Book Thief 2017 The Post Lucasfilm
1977 Star Wars(1997 RCA release is not complete) 1980 The Empire Strikes Back(1997 RCA release is not complete and has sound quality issues) 1981 Raiders of the Lost Ark  [Paramount still involved?] (2008 Concord release is not complete and has pitch issues) 1983 Return of the Jedi (1997 RCA release is not complete and has sound quality issues) 1984 Indiana Jones and the Temple of Doom [Paramount still involved?] (2008 Concord release is not complete and has pitch issues) 1989 Indiana Jones and the Last Crusade [Paramount still involved?] (2008 Concord release is not complete) 1999 The Phantom Menace (2000 Ultimate Edition is not complete and has many other problems) 2002 Attack of the Clones 2005 Revenge of the Sith 2008 Indiana Jones and the Kingdom of the Crystal Skull [Paramount still involved?] Hollywood Pictures
1995 Nixon Touchstone Pictures
2011 War Horse 2012 Lincoln Disney
2015 Star Wars: The Force Awakens 2016 The BFG 2017 Star Wars: The Last Jedi 2019 Star Wars: The Rise of Skywalker
MGM
1966 Penelope (FSM 2004) 1969 Goodbye, Mr. Chips (FSM 2006) 1973 The Man Who Loved Cat Dancing (FSM 2002) 1990 Stanley & Iris (Varese 2017) United Artists
1967 Fitzwilly (Music Box Records 2013) 1971 Fiddler On The Roof (La La Land 2021) 1973 The Long Goodbye (Quartet 2012) 1973 Tom Sawyer (Quartet 2015) 1976 The Missouri Breaks (Kritzerland 2013)
Paramount
Allied Artists
1960 I Passed For White National General Pictures
1969 The Reivers Paramount
1977 Black Sunday (FSM 2010) 1995 Sabrina 1999 Angela's Ashes 2011 The Adventures of Tintin Dreamworks
1997 Amistad 1998 Saving Private Ryan (La-La Land 2018) 2002 Catch Me If You Can 2004 The Terminal 2005 War of the Worlds (2020 Intrada)
Sony
Imperial Productions / American International Pictures
1958 Daddy-O Columbia Pictures
1960 Because They're Young 1963 Diamond Head (FSM 2006 release was not expanded) 1963 Gidget Goes To Rome 1972 Images (Prometheus 2007 release and 2021 Quartet release are not expanded) 1977 Close Encounters of the Third Kind (La-La Land 2017/2022) 1998 Stepmom 2000 The Patriot 2005 Memoirs Of A Geisha [Dreamworks co-production] Tri-Star Pictures
1991 Hook (La-La Land 2012 release is not complete) 1997 Seven Years In Tibet
Universal
1961 The Secret Ways 1965 The Killers 1966 The Rare Breed 1966 The Plainsman 1970 Storia di una donna (Story of a Woman) 1972 Pete 'n' Tillie (Varese 2017) 1974 The Sugarland Express 1974 Earthquake (La-La Land 2019) 1975 The Eiger Sanction (Intrada 2021) 1975 Jaws (Intrada 2015) 1976 Family Plot (Varese 2010) 1976 Midway (Varese 2011) 1978 Jaws 2 (Intrada 2015) 1979 Dracula (Varese 2018) 1979 1941 (La-La Land 2011/2015) 1981 Heartbeeps (Varese 2001) 1982 E.T. The Extra-Terrestrial (La-La Land 2017/2022) 1984 The River (Intrada 2020) 1989 Born On The Fourth Of July 1989 Always (La-La Land 2021) 1992 Far And Away (La-La Land 2020) 1993 Jurassic Park (La-La Land 2022) 1993 Schindler's List (La-La Land 2018) 1997 The Lost World (La-La Land 2016) 2005 Munich [Dreamworks co-production] Universal Television
1972 The Screaming Woman  
Warner Brothers
1965 None But The Brave (FSM 2009) 1966 Not With My Wife You Don't! (FSM 2006) 1972 The Cowboys (Varese 2018) 1978 Superman: The Movie (La-La Land 2019) 1987 The Witches Of Eastwick (Perseverance 2012 release is not expanded) 1987 Empire Of The Sun (La-La Land 2014) 1988 The Accidental Tourist (FSM 2008 release is not expanded) 1990 Presumed Innocent (Varese 2022) 1991 JFK 1996 Sleepers 1997 Rosewood (La-La Land 2013) 2001 A.I. Artificial Intelligence (La-La Land 2015/2021) 2001 Harry Potter 1 and the Sorcerer's Stone (2018 La-La Land) 2002 Harry Potter 2 and the Chamber of Secrets (2018 La-La Land) 2004 Harry Potter 3 and the Prisoner of Azkaban (2018 La-La Land) National Geographic Pictures
1969 Daddy's Gone A-Hunting

There is some further additional music available for As We See It on Johnathan Sanford's Soundcloud:
 

It's probably based on the great work done here by @BrotherSound
 
So glad they release it entirely. Instant buy for me, glad I wait a bit before placing my order for Jumanji. Intrada has brought such a great flood this year, thanks to all involved

8 more minutes, including one particular highlight cue. Would you prefer the complete score never get released because there's so little to add? (Also, the film mixes are all totally unreleased and different from the Len Engel album mixes.)
 
Yavar

I like physical media, but selling USB drives just for the files they contain is a really horrible idea, ecologically. And pretty useless, too. I'd rather just buy an empty jewel case with a cover, a booklet, and a download code.
 
Poor usability (few DVD players were really usable without a display, and I think there was never a standard for "blind" navigation on audio "only" discs), plus the format appeared just when people started switching to non-physical media anyway.

I didn't think I could see any improvement in the visuals... until I went and looked at some clips of the 2009 film. It definitely is much better. I think the problem, at the end of the day, is we're still looking at a fantasy world that we have very little point of reference for, so it's always going to feel somewhat artificial. You can't deny that the water/foliage/etc looks utterly real.

We already know it will be visually spectacular.
BR2049 and AVATAR showed the way
 
But.....
this film will succeed or fail on its SCRIPT.
The reason #1 failed to become a classic

Nintendo rolled that out 11 years ago
 

As a fan of the original movie it seems to me that it has become a bit of a "thing" to say you don't care about Avatar and while it is of course perfectly fine to have that opinion, the constant "don't care about avatar?", "why do they make sequels?" comments on the internet (not just here) have become a bit tiring and predictable IMO.
 
I have no idea if the sequels will be good but in the time of constant MCU movies, some Avatar movies can only be a good thing as Cameron clearly has a passion for this world and is making the movies that he wants to make.

NEW SCORES AVAILABLE:
 
Amazon Prime Video
As We See It (Jonathan Sanford) [11 cues, 08:39] LuLaRich (Danielle Furst & Khari Mateen) [18 cues, 51:52] Reacher (Tony Morales) [13 cues, 28:08] Upload (Joseph Stephens) [18 cues, 15:33] Voyeurs, The (Will Bates) [23 cues, 42:25]