Dan Romer should do the score for Super.

[Toonami1998]

Discuss. If you need a preference then listen to the Maniac score.

[MasenkoHA]

Yes, an American music producer making music for a Japanese product makes all the sense

[Forte224]

I mean, could you provide some context and ideas on why he should score Super? I listened to a few tracks and I don't understand what you're getting at.

[Super Sonic]

Yes, an American music producer making music for a Japanese product makes all the sense

Never saw "Tenchi Muyo in Love" I take it. That was scored by guy from the group Tangerine Dream. Yes he's a German and not a Yank, but still the point stands.

[Captain-Sora]

Yes, an American music producer making music for a Japanese product makes all the sense

Not that I'm in support of this thread's particular choice (especially since it's likely that Sumitomo would just come back for potential future Super material anyway), but it isn't exactly unfamiliar ground for anime to have their original scores be done by non-Japanese composers. The old Jojo OVAs, the original Zoids series, Steamboy, Blood+ are a few examples. It's just not all that common, for obvious reasons.

[Kunzait_83]

I mean, I'll say this much... I may have had to Google this dude just to know who the fuck he is and what he's worked on, but at a bare minimum he's at least someone who's worked on actual legitimate films and TV shows (even if a lot of them are insipid indie dramas like Digging for Fire, or Hallmark sap like The Good Doctor ) that aren't just children's Saturday morning schlock.

Normally when someone from here posts some random "I think that *random Western person's name* should get hired by Toei (somehow) to do X or Y with DB's music or animation!" thread, the Western name in question often almost always turns out to be someone who's mainly known for only having worked on something like Danny Phantom or Ben 10 or Ed Edd N Eddy or some other shit along those lines (at least when its not Hans Zimmer, or someone else closely tied to summer tentpole superhero films).

This Dan Romer guy's work is still absolutely in NO way anything that particularly screams out at me that "this dude is PERFECT for scoring a revival of an 80s & 90s Japanese martial arts/Wuxia anime" (though the OP is perfectly free and certainly encouraged to explain to us what exactly the hell he hears in tracks like this or this or this that makes them think "this is the guy who needs to score Dragon Ball Super!") but hey... at least someone from around here with a screen name like Toonami1998 evidently has at least some media reference points that aren't solely or primarily limited to whatever's playing on Disney XD and Cartoon Network (or whatever the next big superhero summer blockbuster is).

Sometimes you just gotta savor the little things.

Not that I'm in support of this thread's particular choice (especially since it's likely that Sumitomo would just come back for potential future Super material anyway), but it isn't exactly unfamiliar ground for anime to have their original scores be done by non-Japanese composers. The old Jojo OVAs, the original Zoids series, Steamboy, Blood+ are a few examples. It's just not all that common, for obvious reasons.

Don't forget Interstella 5555, which rather notably brought in Daft Punk of all people.

[TheGreatness25]

It's such a subjective thing that the answers to this could be endless. Hanz Zimmer should score Super too. But honestly, I think that the score for Super is pretty good.

[Kuwabara]

Romer's music sounds like it would appeal to Faulconer or Sumitomo fans, I don't really have strong feelings about it one way or another.

[MasenkoHA]

I mean, I'll say this much... I may have had to Google this dude just to know who the fuck he is and what he's worked on, but at a bare minimum he's at least someone who's worked on actual legitimate films and TV shows (even if a lot of them are insipid indie dramas like Digging for Fire, or Hallmark sap like The Good Doctor ) that aren't just children's Saturday morning schlock.

Normally when someone from here posts some random "I think that *random Western person's name* should get hired by Toei (somehow) to do X or Y with DB's music or animation!" thread, the Western name in question often almost always turns out to be someone who's mainly known for only having worked on something like Danny Phantom or Ben 10 or Ed Edd N Eddy or some other shit along those lines (at least when its not Hans Zimmer, or someone else closely tied to summer tentpole superhero films).

This Dan Romer guy's work is still absolutely in NO way anything that particularly screams out at me that "this dude is PERFECT for scoring a revival of an 80s & 90s Japanese martial arts/Wuxia anime" (though the OP is perfectly free and certainly encouraged to explain to us what exactly the hell he hears in tracks like this or this or this that makes them think "this is the guy who needs to score Dragon Ball Super!") but hey... at least someone from around here with a screen name like Toonami1998 evidently has at least some media reference points that aren't solely or primarily limited to whatever's playing on Disney XD and Cartoon Network (or whatever the next big superhero summer blockbuster is).

Sometimes you just gotta savor the little things.

Not that I'm in support of this thread's particular choice (especially since it's likely that Sumitomo would just come back for potential future Super material anyway), but it isn't exactly unfamiliar ground for anime to have their original scores be done by non-Japanese composers. The old Jojo OVAs, the original Zoids series, Steamboy, Blood+ are a few examples. It's just not all that common, for obvious reasons.

Don't forget Interstella 5555, which rather notably brought in Daft Punk of all people.

I never put too much stock in yesss this composer should do x score because I really liked Y

Like Brian De Palma’s Carrie has my favorite film score ever but I would hardly call myself a fan of Pino Donaggio’s work just because I really really liked the score of one film he did.

I know Han Zimmer is an incredibly accomplished and prolific film composer but I just associate him with Lion King.

[JohnnyCashKami]

Don't know who Dan Romer is but I'd love for Hans Zimmer or Dave Porter, Yamamoto 'borrowed' music from Hans Zimmer before (iirc) and Porter makes some fucking awesome scores for AMC shows (Preacher, Better Call Saul, Breaking Bad, etc). My favorite tune by Dave Porter is Preacher's opening, even have it as my phone ringtone, so good.

[Thanos]

While I do have a few minor issues with Sumitomo early on in the series, there's just so many good things going on with it once you hit the Goku Black arc, and by the time the Tournament roles around, it's extremely solid. While it's not quite on the level of Kikuchi or even Akihito Tokunaga's GT score for me (mostly nostalgia probably), I think it suits the series and there's a lot of great earworms there.

I have to ask, though--has the weird licensing issue of early FUNimation with Faulconer planted the desire for fans to need a replacement soundtrack by default?

[Kunzait_83]

I have to ask, though--has the weird licensing issue of early FUNimation with Faulconer planted the desire for fans to need a replacement soundtrack by default?

I've long questioned the validity of the whole "FUNimation couldn't use the original score back in the day due to a licensing difficulty" excuse: that explanation only ever came about suddenly some years into the dub's run once it began taking an increasing amount of heat from fans online. Prior to that point, most interviews with the Fukanagas about the dub's production had them simply citing that test audiences of small children they used didn't respond well to the original score, and so they opted to replace it with something that was seen (by 40 to 50-something marketing executives mind) as being more popular with American kids as well as better able to hold their attention spans, with not a single word spoken about licensing difficulties for the music.

[ABED]

I have to ask, though--has the weird licensing issue of early FUNimation with Faulconer planted the desire for fans to need a replacement soundtrack by default?

I've long questioned the validity of the whole "FUNimation couldn't use the original score back in the day due to a licensing difficulty" excuse: that explanation only ever came about suddenly some years into the dub's run once it began taking an increasing amount of heat from fans online. Prior to that point, most interviews with the Fukanagas about the dub's production had them simply citing that test audiences of small children they used didn't respond well to the original score, and so they opted to replace it with something that was seen (by 40 to 50-something marketing executives mind) as being more popular with American kids as well as better able to hold their attention spans, with not a single word spoken about licensing difficulties for the music.

And I've read someone from the Japanese end of things saying the cost of using the original score was not that expensive.

[MasenkoHA]

I have to ask, though--has the weird licensing issue of early FUNimation with Faulconer planted the desire for fans to need a replacement soundtrack by default?

I've long questioned the validity of the whole "FUNimation couldn't use the original score back in the day due to a licensing difficulty" excuse: that explanation only ever came about suddenly some years into the dub's run once it began taking an increasing amount of heat from fans online. Prior to that point, most interviews with the Fukanagas about the dub's production had them simply citing that test audiences of small children they used didn't respond well to the original score, and so they opted to replace it with something that was seen (by 40 to 50-something marketing executives mind) as being more popular with American kids as well as better able to hold their attention spans, with not a single word spoken about licensing difficulties for the music.

The “we can’t afford the music license” always seemed like a piss poor excuse especially when they said focus groups told them American kids like wall to wall music and the Japanese score had too many gaps and they also said they get royalties with their own score. And pretty much every other dub kept the Japanese score even the ones that clearly had a budget of like $10 us dollars

And then there’s their “Sleeping Princess in Devil’s Castle” dub which kept the Japanese music which seemed purely because they were transitioning to do everything on their own and didn’t have time to make a new score