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Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)


Breadstick Basilisk

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1 hour ago, Holko said:

Which was the audio interview where he was asked the obligatory question about Disney doing SW expansions and he replied "well, what do you think?"

2019 podcast for the Disaster scores I think?

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I’m not too familiar with his work, if it happens what are the odds that the unreleased Sequel trilogy stuff gets released?

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100%

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12 minutes ago, Jay said:

100%

That would be awesome, he said in his interview with JW Legacy pod that Jerry Goldsmiths Star Trek took him 8 months, idk I assume Star Wars would be different but 9 would deff take a while. And he didn’t seem like he is working on it already

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Nope

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10 hours ago, Holko said:

The real problem with the ESB demaster stereo is that these "professionals" downmixed LCR to stereo by just putting the center channel in the right channel.

Okay so this is the part that confused me. If these are the Tomlinson mixes why is there any need to do downmixing at all? Were his mixes only done in surround sound for the film? And if they were, doesn't downmixing make them no longer the same mix?

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They were 3 channel stereo (left center right). 

 

CDs and streaming are (for the most part) 2 channel stereo (left right) 

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19 hours ago, Chewy said:

Not sure to agree with this. ANH and ROTJ definitely sound better on the 2018 demasters to me.

 

To be fair, it's basically been since ~2018 that I gave them a listen last. Yeah I guess I don't recall ANH and ROTJ sounding bad. TESB though... :flush:

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2 hours ago, Jay said:

They were 3 channel stereo (left center right). 

 

CDs and streaming are (for the most part) 2 channel stereo (left right) 

is there a reason to only include 2?

Sorry for a-lot of questions I really know nothing about this tuff.

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Well, when you listen to music through headphones or speakers it is only coming out of two sides, left and right. there is no obviously no center speaker in a pair of earbuds. But for movies the sound is mixed to come through five or even seven speakers so the film mixes have to be downgraded to come through the two speakers that consumers will be playing CDs or streaming music through. instead of simply deleting this center channel from the consumer release mix to leave just the left and right channels that are actually needed, the proper way to do it would have been to split the center channel into the left and right evenly but they instead applied it only to the left and did not touch the right channel

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Just give me the 3 channel film mixes and I will make proper stereo mixes :D

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Shawn Murphy is credited as mixer on the Solo Deluxe album and it is one of the best mixed albums I have ever heard

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I would place the blame firmly at the feet of Disney. These releases were thrown together in a very short space of time to hit a release date.

 

The analogue transfers were - as I understand it - happening anyway before the decision to reconstruct the original albums.

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This is the part that baffles me. I know our market. And I get it, we're really really teeny. But who's market was this for?

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I think they just wanted something on digital stores / streaming services that was "new!" "updated!" "different" and that's about it.  They also probably assumed that remastering new albums from a fresh rip of the old analog elements would unequivocally result in better sounding albums than what Sony ever put out while they had the rights, without realizing that you need a competent producer who specializes in catalog film music restoration for that to be actually be the case.

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25 minutes ago, Tallguy said:

This is the part that baffles me. I know our market. And I get it, we're really really teeny. But who's market was this for?

 

Chances are "our" market is only a small fraction of those buying random SW soundtracks from all markets. So, on a basic business level, making a simple release for the global market, even if relatively few of us buy it (and from what I've seen, quite a lot of us did), may make more sense than a specially curated release for us that costs more time and money. In fact, the former may be an obvious business decision, while the latter may not even occur to many of those in charge.

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I would assume so since they released complete (near-complete at least) editions of Solo and Rogue One, right?

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7 minutes ago, Jay said:

I would assume so since they released complete (near-complete at least) editions of Solo and Rogue One, right?

It seems like the Solo one came from Powell doing that for most of his scores and Giacchino contacted Mondo about doing a vinyl release.

Seems like both where from the composers not SW but could be wrong.

 

Does Disney even know that the 2018 release isn't liked?

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I would speculate all they look at to determine success of an album is number of sales / streams, and not feedback posted to film score message boards.

 

So probably not.

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11 hours ago, Jim Ware said:

I would place the blame firmly at the feet of Disney. These releases were thrown together in a very short space of time to hit a release date.

 

The analogue transfers were - as I understand it - happening anyway before the decision to reconstruct the original albums.

Well given how carelessly they have treated several of their Legacy Edition re-releases (particularly Hunchback), I don't have the greatest confidence that Disney would do any better with Star Wars. I don't really understand how a company with effectively limitless resources can make such a hash out of things which, in the grand scheme of things, aren't actually very expensive projects... if LLL, Intrada, FSM, Varese, Quartet etc. can all afford to lavish such care and attention on their restorations, why can't Disney?! And it's not like the people they engage on these projects are lacking in expertise so it's hard to figure out where things can go so wrong.

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Williams would have to be involved, and in that case Matessino would be as well. It seems that Williams personally (or at least someone from his team) signs off anything Matessino assembles, so unless someone at Disney corrupts the album *after* he has signed off, the assembly should be safe.

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1 minute ago, Marian Schedenig said:

unless someone at Disney corrupts the album *after* he has signed off, the assembly should be safe.

 

Well...

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In Williams's case, that would involved actively going against the wishes of an artist who (supposedly) officially has the last word on the content. I.e. it wouldn't just be an artistic screw up, but one of workflow and responsibilities as well.

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Williams' involvement actually makes me a little skittish since the Concord Raiders set. Or do I have that story wrong? (Please reassure me and tell me Williams had nothing to do with it.)

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36 minutes ago, Tallguy said:

Williams' involvement actually makes me a little skittish since the Concord Raiders set. Or do I have that story wrong? (Please reassure me and tell me Williams had nothing to do with it.)

 

Matessino had nothing to do with it, and by all accounts, he's the one who has gotten Williams to be more and more open for releasing unedited and supposed "minor" cues.

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The Concorde Raiders set is the 2008 “expanded” one correct? What’s wrong with it? Other than being “expanded”.

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1 hour ago, Brando said:

The Concorde Raiders set is the 2008 “expanded” one correct? What’s wrong with it? Other than being “expanded”.

 

Music plays at the wrong pitch throughout the album, for one thing.

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54 minutes ago, A. A. Ron said:

 

Music plays at the wrong pitch throughout the album, for one thing.

Really? I had no idea about that. 

 

51 minutes ago, Marian Schedenig said:

And Desert Chase is the microedited album version.

Yes, I am aware of that. Very odd they didn’t include it. I love the interview on the bonus disc, but those 17 extra minutes could’ve been better utilized for other cues.

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8 minutes ago, Brando said:

Really? I had no idea about that.

 

Yep. In fact, we had a whole thread here on JWFan about the pitch problems on the Concorde Raiders and Temple of Doom albums and how to fix them, as you can see below.

 

 

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1 hour ago, A. A. Ron said:

 

Yep. In fact, we had a whole thread here on JWFan about the pitch problems on the Concorde Raiders and Temple of Doom albums and how to fix them, as you can see below.

 

 

Oh gosh. I went thru that thread before and most of the super technical stuff goes right over my head. Now I remember seeing this. For my personal playlist/film edits, I ended up utilizing different sources, same with SW, so those 2 playlists are a hodgepodge of sources. At least for TOD I was sent a folder with a few unreleased cues so I was able to switch from the atmos rip to clean tracks. One day we won’t have to worry about this anymore when we have one clean and precise album the way it should’ve been in the beginning.

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On 18/06/2022 at 4:06 PM, Marian Schedenig said:

Williams would have to be involved, and in that case Matessino would be as well. It seems that Williams personally (or at least someone from his team) signs off anything Matessino assembles, so unless someone at Disney corrupts the album *after* he has signed off, the assembly should be safe.

 

No assembly is 'safe' when Williams has ultimate sign off :lol:

 

I think some are torn between wanting that warm, fuzzy feeling that John Willliams approves of the package you're holding, and knowing that because of that it's going to be missing... something.

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1 hour ago, Gibster said:

What is he waiting on? I assume he has to approach them not the other way around

 

It could be possible that they already started working on something for all we know. If they do all 9 films at once, it's going to be a multi-year project. The 3-film Harry Potter set took, what, like 2-3 years?

 

We do know that there have been talks since ~2017.

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I would love to think that is the case but It's been years at this point and from his interviews it isn't coming out in 2022.

When it does come out I would assume it would be near a 12 CD beast.

 

How come the Harry Potter collection wasn't released digitally? 

 

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