ymenard

2007 albums, 312GB. That's my entire collection, all my CD's that I finally transfered digitally. Unfortunately it's not all V0 VBR, I have to re-rip a lot of them from when I started almost two years ago. But here it is all, finally. It's the little box I want to keep for the rest of my life, obviously backed up in a different physical place.

I really need to have "phases" in my music listening. There is just too much good quality music happening (and that happened) for me to devote myself to a singular artist until I, well.. die. It's all part of being really obsessive about music, I guess. I can spend a week listening only to JW, and I get my fix. Same thing will happen to Bob Dylan bootlegs, or Wilco, or Autechre, or the Beatles, or Debussy, or Miles Davis. So much music, so restricted time... sometimes I hate myself for almost spending more time thinking about which CD is more important to listen to compared to others than actually listening to them

Going back to the Halloween cue... (the magic of Halloween) Just listened to it again, and it's one of the most incredibly orchestrated piece I've ever heard. Just concentrate on every instruments, the way they interract with each other. The naive start, the way the tension builds up, and the let-go (first time in 70 minutes into the movie you hear this iconic theme!). Just imagine being Johnny himself, and deliberatly holding on to this great cue, any other composer would have inserted it at various places before that. I mean the first Yoda quote isn't even all done with the same instruments!! And the way it's tempo-ed, I just have no idea how he got to write it with a click-track or specific to the moment where the bike goes by himself controlled by E.T., it's really perfect.

Well I know that when you work in a field of arts, the term "admire" takes a much different connotation from the same way the term is used by the populace. So for an artist such as John Williams, who has probably a lot less time to listen to classical music (and when he does, it's obviously outside the time he spends working), you cannot grasp as much about your own field as the obsessive-compulsive people that make the most of out this forum and film scores in general, me included. I know this as it applies to my field of art (I create and music helps me do that), and most of the people I know who work in such places all say the same thing. While they might admire some artists, well we just don't have the time to devote ourselves as much to them as we would want to, well because we devote our time to ourselves and our art! There is a large division between the creator and the viewer in that aspect.

another example, Takashi Miike has directed like 60 movies in fifteen years!

I bet Spielberg does a movie before that and releases it before it too, with a new JW score

All this non-sense of OOP scores and limited runs will someday be of the past when labels understand that they would make a lot more money by putting them online for all. All the Ebayers would become useless and scores would finally be democratised and given access to true fans of soundtracks. A CD is just a piece of plastic and aluminium with no value. It's all and only about the music. (hopefully minimum 256kbps or VBR V1)

I don't get it. The underscoring of TESB until the Hoth Battle is really beautiful. Complex, dense, textured, Gothic-like...

Limited to 3000 copies, wow they expect it to be a really good seller

There are sites out there that sell OOP, OST, and bootleg scores for a couple bucks. Yeah but I'd rather wait for proper stuff by FSM, Intrada, etc... Just imagine if they opened up their archives, the same way that Naxos is opening their catalogue... I mean seriously those low-run CD pressing only benefit a couple of guys who will speculate later on a poor collectionner who thinks this release is worth more than it really is. Seriously, there is no music that is worth as much a some stuff you get on Ebay if you think about it. Those companies would benefit a lot from offering lossless versions of their OOP pressings. It's the only way to go anyway if they want to be kept alive. All the small music companies are struggling these days as much as the big ones too. Naxos understood that. But the smaller ones have less cashflow to survive a couple more years and hope that "something else" happens.

The next step is Out-of-Print scores and soundtracks in digital format.... In these ages, there shouldn't even need for stuff like the FSM Collector's Club. The only speculation it does, is for collectors. Now everybody could have access to these scores.

Seems like Canada is forgotten about (again). Nothing here in Montreal in any store. Shame

Yes, it can't compare to the Blue Box. The men and woman who have worked on this set, clearly knew it was a "holy grail". Supes wasn't a holy grail, we had almost all content for the first one. I can understand now why a fifth CD, somehow the scores for each movie will be out on the shelves, for business reasons its better to have them as single CD's at a reasonnable price, say 13-16$. You cant do that with 2CDs for each score, business wise your profit margin wouldnt be as high.

I really wish the interview part on Disc 5 is in MP3 format... Those 78 minutes are valuable and for the same quality (since it's just people talking), you could jam probably 5 times as much interview for the same disc space. Not only that, but you'd GAIN space for 16/44 unreleased cues!

Such a beautiful boxset, they can't just expand Raiders and give us nothing more. From the looks of it, somebody _intelligent_ somewhere is doing a good job. Not perfect, but the direction is towards good. They surely know how to market it. They are able (throughout the hundreds of CD's released each month) to spread the anticipation over a month and keep momentum.

"More music from" Indiana Jones

I'm trying to forget all about the TPM UE. Its unlistenable, the music is stretched and cutout, tempos dont work. The final audio cut in the movie went through audio editing software so that movie cues end up exactly with the music cues (like some point stretched out for 0.2second, or a 3 second loop that throws away the 4/4 signature) Put a metronome to the music and you'll see. Anybody with a good ear does notices. I hate it. Good intention, bad execution. But the sound fidelity is as good as it gets for a modern score!

I have faith in the people who are working on this release. The expanded Raiders, it was back then quite a work of love. It is a Steve Hoffman DCC mastering, that already is something almost unheard in soundtracks (only one Korngold CD, and Spellbound iirc). So the people who wanted to re-release it, could have just reprinted it and it would have been quite satisfactory. The bulk is there, the massive bulk of the score. We're talking about seconds or some minutes missing here and there, but really all is there in content. So if they expanded it, they clearly had the staff that knew about the little stuff missing, any other production crew would had seen the expanded as satisfactory of reprinting. If they knew about Raiders, they surely knew about TOD and Last Crusade. I hope they don't completely expand TOD, I mean don't give us the Feast music, so that more space will be available on the TOD disc to start the expanded Last Crusade

The Blue Box wasn't something that was publically available, you had to know its existance. It was a private thing from a private company, the general public has no idea of it's existance. I'd speculate heavily (considering the nature of the companies related to the Indiana Jones osountracks) that this would be something available in stores. Not only for the soundtrack geeks, but also for the general public, like the Star Wars SE. Jaws and CEOT3K are product that are awesome, but not perfect. This could be perfect (I doubt), but it still might be the closest we get as a general release to the "holy grail". But someone, somewhere, understood that there was a need to expand the great DCC release of Indiana Jones. I mean the original release for the mass public is quite amazing, the work by Steve Hoffman was amazing. But somebody decided that customers wanted "a little more", which means they might also do this for TLC and TOD. Why not???

Could this be the first time John Williams is correctly treated for te quality of his works since... a decade? (the Star Wars SE) Too many unknown information about this set, but _obviously_ somebody has been listening

Midi controllers can be a cheap alternative, but they are often cheap as the name implied. My edirol is useless now, some keys don't work, others are stuck at various # of velocity or skip them. That's the problem with digital keys, once a key become different from the others it REALLY makes for a bad experience

Well the software is not intended for polyphonic sound files, but it can process it. I figure you could not completely mute an effect or a voice, but you could at least try!

Actually there is an upcomming software, called Melodyne "Direct Note Access" that will in the future make this possible. Note that this software isn't a scam. It's a complex program that should be on the shelves at the end of the year. After a scan of the audio file, you could really "clean it up" to reveal as most music as possible.

You will eventually end up buying all of them, so why wait?

Yeah this ain't no "fan edit" or whatever, the early 3d maquettes are too professional. This is some sort of pre-viz version, about half into the making of the SE. Work-in-progress. I always wondered why the new music entered randomly during the new scenes, I guess they couldn't find a way in the editing room. Here the temp-track enters right when you cut from Endor