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superultramegaa

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About superultramegaa

  • Birthday 01/12/2000

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  1. The worst sin of the sequel trilogy is that I genuinely cannot enjoy John Williams' scores. All of the misquoting of Luke's theme (I'm never calling it the Star Wars theme), the constant use of the force theme, and the mess that is the temp tracking, music editing, and scrambled thematic material make them absolutely unbearable to listen to. Not to mention the only new themes that capture my attention are Rey's theme, The Starkiller, and I was going to list a third theme but I completely blanked because the new material is just that uninteresting. Kylo's theme is so short and derivative I can't get any enjoyment in the way Williams uses it, the Resistance theme is quite frankly too cheesy for me, and the rest I can't even remember the melodies to so they're not even worth mentioning. It's clear to me in listening to the sequel trilogy's music that Williams was done with Star Wars after the prequels. I hate the prequels more than the sequels, but I remember almost every single solitary note from Revenge of the Sith, but I could not tell you any moments post The Force Awakens musically that stood out. Episode 3 was a perfect finale score for the franchise, even leading in beautifully into the original trilogy with Leia's theme and "The Throne Room" reprises being the perfect send-offs not only for the prequels, but Star Wars as a whole. I don't even remember if Williams did anything special for the End Credits for The Rise of Skywalker. Rian Johnsons' not doing another Star Wars trilogy? Alright. The franchise's soul has been gone from every film release post 1983 so he sure as shit wasn't going to change that considering how The Last Jedi turned out. Hopefully some of the new Star Wars games can breathe life into the franchise again just like they have since Star Wars Galaxies. Jedi: Fallen Order came close so I have far more hope for that medium than any other.
  2. Oh, hey! Well there's one thing your restoration has over the "Revenge" edition, in that you actually included the Victory Celebration ending (which has always been my by far preferred version of the ending track and is still on my playlist because of it!) As stated before your version definitely sounds better than all of the muddy recordings before, and your versions of "Funeral Pyre (Original)" and "Death of Yoda" are still on my playlists whenever I revisit Jedi's score. I'm glad to hear you improved things for ESB. Plus I've never done a restoration before so I can't really criticize you too much anyway lol.
  3. I'm pretty sure it is, yes. I don't listen to it anymore, as I realized in an effort to add clarity, he took out almost all of the bass, but I still have a soft spot for it because it allowed me to hear some of the smaller details like the harp sections. Nowadays I usually listen to the "Revenge Restoration Edition" of Return of the Jedi that I found online, as it feels far more like a proper remaster while not having too much treble, being too muddy, or too compressed.
  4. Yeah, they are there, but unfortunately most versions have them sounding fairly muddy and practically inaudible. I first realized they were there because someone gave me a version where they increased the treble in an attempt to get a clearer sound with Return of the Jedi's score. The harps are very audible and start at 1:38 in this mix. https://drive.google.com/file/d/1BkXJVDr1142VVrUfyyu6YgIa7ROkvYXz/view?usp=sharing
  5. It's a shame he was rejected and didn't get to work with Howard Shore, that was great stuff! I liked how much thought he put into it, and how he wanted it to fit in with the previously established musical world. The only issue is his work representing the last alliance really can't compare to the Fellowship of the Ring prologue.
  6. Loved it! Some great selections, and I loved the transitions between each theme! Didn't expect that cover of the Force Awakens trailer music! My only nitpicks are really personal preference. I missed the harp 16th notes around 3:50, as well as the choir in the "Battle of the Heroes" section, but considering this isn't a cover, it's not really a problem. I also wished Yoda's theme had more time to shine, but considering I still loved how you incorporated it's not a dealbreaker by any means. Incredibly impressive and inspiring work!
  7. Impressive work! Incredibly realistic programming as usual! Did you use EastWest Gold or Diamond for this?
  8. If the artist's intention doesn't matter, then every interpretation is as equally valid, not objectively right. My post was bringing that line of thought to the inevitable end point of that line of thinking, which is anyone can impose any view they want on a piece of work, because interpretation is more important than the intention, as the intention does not matter. If you didn't mean it that way then I retract my statement. I just take issue with the line of thinking that often ends up going in that direction, and it sounded like your post was hinting at that.
  9. You're right. Harry Potter is clearly about the inevitable heat death of the universe. Star Wars is about the life cycle of a tadpole, and Fifty Shades of Grey is really a commentary on China. These interpretations are as objectively valid as what the author actually intended, clearly!
  10. A few selections from Jeremy Soule's Skyrim: Plus some of the cave ambient tracks definitely capture the atmosphere for the abandoned / dark places like The Mines of Moria or Dwimorberg.
  11. I didn't mean exactly like that, I meant it might have been him attempting to plan for the future because not all of the books were released at this point, much like him hiding various themes in Rey's theme because he wasn't sure what her relation was to other characters.
  12. I wouldn't be entirely surprised if that was the case, considering "Harry's Wondrous World" is used to underscore his friendships 90% of the the time. This would also explain its appearance when he visits petrified Hermione after his visit to Aragog, as it could be him thinking of his parents and how he almost lost Hermione just like he lost them. Then again Hermione's theme in "Hermione and The Mudbloods" also seems to have elements of the family theme, so maybe John Williams also wanted Harry and her to get together just like JK Rowling did at one point? Otherwise, I'm not sure why he'd score Hermione in particular with the family theme so often. Hopefully it's not a case of "it just fit" much like Princess Leia's theme when Ben dies.
  13. Giacchino is just outclassed by Elfman I think. Danny Elfman has been one of the most well-known and revered composers (at least he was from 1988 until the later 2000s), and is practically a household name at this point because of his iconic scores of the previously mentioned era. While Michael Giacchino is a talented, but ultimately bland composer who doesn't really seem to have too much of a consistent style, besides jazz elements in his work and much of it sounding semi-similar to John Williams. I don't think I could ever tell you what score is a Giacchino score just by hearing it in the film or by itself. Maybe if he did a Bond score that sounded like The Incredibles.
  14. I remember every piece of action music, especially from the first Spider-Man. His clever uses of the different sections of the Spider-Man theme, the way he contrasts it with the Goblin and Doc Ock themes, the set-piece motifs he creates for tracks like "The Fire". Honestly him and Young are often neck and neck in terms of action music for me, as Elfman's is stronger thematically, but Young's is more bombastic and heart-pounding. I realize it's all opinions, but the entirety of Elfman's scores for the first two Spider-Man movies are awesome to me (minus the thankfully scrapped montage pieces from the second movie, and Elfman's versions of the "Peter's Turmoil"/"Cake Girl" and "Pizza Man" cues.
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