avoidz said:

Ah, ok. I suppose it's like the sounds of music sheets being turned during quiet moments you can sometimes hear on soundtracks :)

(Sorry for double post)...

It's not as simple. Cause if you have to take into consideration the mixing, you have to consider the recordings too

... And Eric Tomlinson who recorded the OT musics used to make two recordings the same time: a 8-track (6 tracks of music) live recording + a 24-track recording. The first one was to catch the whole ambiance of the orchestra (front/below/left/right), while the 2nd one was to have more or less isolated the different sections of the orchestra.

It seems however that the 24-track was almost always what was chosen for the albums, when it seems the film received mostly the 8-track live takes wich contains the synchro tone for pictures. Now you can imagine all the different versions we could make of a SW score ! The album mixings had the reputation already to have some narrow stereo (I don't remember the reason but it was related to the necessity to have a center channel that was not obvious to manage...).

Is the music where the Falcon and other rebels fly into the Death Star tunnel sequence on this LP? That's one of my favorite parts of the movie.

Well, I already quoted that elsewhere, but if you're talking about the "Superstructure Chase" cue as I think, here it is again:

Eric Tomlinson said:

"I went down to talk to John williams when he was conducting (...) He couldn't hear a damn thing in there".

"I took it back to Abbey Road and I spent days trying to make it sound like Abbey Road and I just couldn't. We gave up in the end and although it sounded OK in the studio at Olympic, it didn't match up with the preceding or the following cue. They almost dropped it but it was too important to drop".