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Yeah I know full well this would be a massive undertaking. Figured someone must have been foolhardy enough to try already. But with almost all of the TOS music back in print it seems like a good time to resurrect the idea.
Yeah as Zap said, I tried it. The Corbomite Maneuver. It turned out okay but it was a real effort to do it and in the end, it's not a smooth listening experience. Other episodes would be even tougher. Balance of Terror is a massive cut and paste during the battle scenes and would be a really poor listening experience. Motifs and even notes abandoned halfway to suit the images, with sound effects often used to obscure the edits. In the end, I merely recreated a few cue recreations I was used to throughout the series. Also, the box set did a couple of crossfades what make it impossible to do an accurate job.
Where No Man Has Gone Before has a couple ("Force Field/Silver Orbs" and "Situation Grave/Epilogue" - joined in the aired version but separate in the unaired pilot) and the library cue version of "One's Enough" from The Doomsday Machine is attached to an alternate take of the finale music, so it doesn't end on a sustain heard in "Mirror, Mirror." Thankfully, that episode has a music only track in the Roddenberry Collection Blu Ray.
Now if LLL presented those cues without the crossfades for the new release, I'll buy the CDs just for that. 
That being said, I am 180% happy with all of the TOS music released. Other than for the edits that I'll never do, with the original box and follow up releases, there's nothing missing I'm concerned about (what are we talking here? Seconds?). It is the soundtrack of my life and I've loved having it since 2012.
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Don't a lot of the episodes use the library cues?
They use a mix of library cues and earlier episodic music. Depending, naturally, on the episode.
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The union rules also stated they couldn't reuse music from prior seasons, but that was also pretty much ignored.
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The union rules also stated they couldn't reuse music from prior seasons, but that was also pretty much ignored.
I think as long as the show re-recorded a given cue as new-season library music, the union didn't mind if the original version of that cue was tracked into the new season. That was harmless cheating, because the money for it was spent.
Does anybody else remember reading that Fred Steiner was surprised, in later years, that the show had re-used prior-season cues? And that he thought those tapes should have been destroyed every year to ensure work for the union?
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Oof. I’m all for everyone getting paid but thank the gods that didn’t happen.
Yeah, that's insane. Maybe he thought of it as work product, but it's art to us. He put a lot into that music. He just didn't know it would be enduring.
Also, I thought composers didn’t have and have never had a union.
But they were still members of the musicians union, the AFM. And I think it was Local 47 for Hollywood.
Speaking of, I was wondering what changed and when that made it more economical to have a composer write new music for every episode instead of reusing cues from previous episodes.
Even adjusted for inflation, there's a lot more money in television today than there was back then. Home video, cable reruns, and streaming services did not exist, and the foreign TV markets were a lot smaller financially. On top of that, nowadays one guy with a high-tech synthesizer can practically fake a whole orchestra. But mostly, I think it's the bigger money in the industry today that made the difference.
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On top of that, nowadays one guy with a high-tech synthesizer can practically fake a whole orchestra.
I LOVE that I am able to do that today (Long time Synthesizer user!) However, its very hard to beat a REAL orchestra 
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I thought I read something years ago about how due to royalty rate negotiations, paying reuse fees became less economically viable than paying a composer to write new orchestral material every episode. Like sometime in the late 70s early 80s. TNG doesn’t repurpose old cues at all as far as I’ve ever been able to tell to tell. Maybe it slips by me. Even outside of the One Guy on a Synth development like on Miami Vice or X-Files, big orchestral tv scores gravitated towards all new music every episode at some point.
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I thought I read something years ago about how due to royalty rate negotiations, paying reuse fees became less economically viable than paying a composer to write new orchestral material every episode.
I didn't know that, and it makes sense as to why show producers are spending any money they could otherwise save.
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