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  1. I read about stuff like this a lot and I just can't imagine how it happens so frequently. Both with sheet music and recordings. How do things like that just get "lost"? Why don't these studios have clear cut archival procedures and employees whose sole job it is to make sure everything's accounted for and stored properly?
  2. What always grates for me on the LAST CRUSADE score is the long sustained high C# (concert B) in the trumpets at 3:59 in 'Belly of the Steel Beast'. They are *very* out of tune with one another on that note. Someone's way flat, and it just kills it for me. It's noticeable enough even for non-musicians that I have no idea why they didn't do another take on the cue. On the other hand, the LSO recordings have their flubs and faults, too. For example, the horns in the cue "Ben's Death / TIE Fighter Attack" on the NEW HOPE recording aren't exactly having their best day with those triplet runs at 3:11.
  3. SW: A NEW HOPE was recorded by the LSO because the film was so far behind schedule that by the time Lucas delivered a locked print to Williams, there wasn't enough time to record it with a U.S. orchestra and meet the release date due to union restrictions. So they packed up and went to London. After that, it became somewhat of a tradition/preference for Williams.
  4. "Once you download it, it’s not like they can take it from you." Tell that to people who have had downloaded e-books deleted off their Kindles by Amazon for various reasons.
  5. It's not just physical space on the disc. If Williams is deciding not to include all the cues and substituting a suite for some of them in his mind, then they're being included at the expense of the complete score.
  6. I wouldn't have a problem with the suites if they were in *addition to* the complete score, not at the expense of it.
  7. It's possible. Never seen it done that way before, though. The first rule of engraving, especially the performers' parts, is to make things as clear and easy to understand as possible, especially for studio gigs like this where performers are expected to sight-read a piece perfectly the first time through. Throwing in confusing clef changes and leaving orphan bars on block rests would just make me as a performer say "Huh?" when I sat down and looked at the part. At a minimum, it would make me raise my hand and ask for clarification, which eats up valuable session time.
  8. Ah, thanks. As someone who's done some professional engraving work for film music, that part raises some questions. When it changes to 6/8, why have one measure of rest and then a 6-bar block rest? Why not just make it a 7-bar block rest? And in measure 22, why is there a clef change to treble indicated when it was already in treble clef the entire time? Very weird.
  9. I like it better than this, the cover that came with the collection:
  10. Has anyone made a custom cover using this image for the entire Indiana Jones soundtrack series, not just specific to CRYSTAL SKULL? E.g., "Indiana Jones Complete Soundtrack Collection" or something similar? I seem to recall seeing one once but I've perused the entire thread and I can't find it.
  11. Not sure why it's a big deal to be the "first woman (anything)" anymore now that anyone can be a woman just by declaring themselves to be one. "Obi-Wan is a legacy character that John hadn't written a theme for because he died quite early on in A New Hope. It's the only legacy character that he hadn't done." Umm... Chewbacca? R2? C3PO? All legacy characters who don't have themes. I know some people say the little motif below from EMPIRE is supposed to be the Droids' theme, but it was only ever used in EMPIRE and even then only in the first reel during the Hoth scenes, so it can hardly be called a full-fledged theme for the robots.
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