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About phbart

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  • Birthday 06/23/84

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  1. Thanks! It was no huge deal, after all. I ended up laughing in the end, thinking about the music editor who worked on this back in '77. I imagined him when JW started to do like "I want take 19 here, then take 18 there, then blablabla...". He probably wanted to kill JW!
  2. A couple of hours, for sure, going back and forth between the raw takes and track 2 of CD1. And that was just to solve the puzzle of the correct takes. Then came the "pleasant" surprise that was to realize that different portions of the takes were used in different portions of the final version. Then there was the editing process, and THAT took me even more time. It was grueling, to say the least. But ultimately satisfying
  3. A good pair of headphones or loudspeakers might solve the "density" issue here
  4. 0:00 to 0:08, tk.19 0:08 to 0:43, tk.18 0:43 to 1:31, tk.20 1:31 to 1:43, tk.18 1:43 to end, tk.20
  5. Yes, that! I'm talking about the original Star Wars 1977/1997 Main Title version only. Not ESB, nor ROTJ, nor Eps I, II, III, VII, VIII, IX, X, XI, XII, XII, XIV, XV... And these are not alternate takes. I took the correspondent sections from each of these takes to create, from scratch, the original film version because of their superior sound quality. It was very difficult to do this and it took me a great deal of time to figure it out what sections were used, let alone combining them properly in Adobe Audition. However, it was no huge deal at all, since it's my favorite JW score (along with Indy trilogy, E.T., Jaws, CE3K, and so on ) Just "listen" to the videos and you'll get what I mean about better sound quality.
  6. I reuploaed the videos using a better audio codec and a proper background
  7. As we all know, the 1997 Special Edition OST 2CD set presented us with the complete recording sessions of the iconic Main Title on the last track of CD1. As we all know also, the sound quality of these separate takes is better (MUCH better, I think) than the final version presented on track 2 of the same CD1. I believe that some of you have already toyed with the idea of creating a version using the selected takes (18, 19 & 20, which the 1997 OST booklet dutifully informed us). So, to celebrate the 40th anniversary, here's my modest contribution (and the correspondent track from the 1997 OST for comparison). It was no easy task putting this together. In the end, it made me respect the work of music/sound editors, and EVEN MORE the work of music/sound editors of the analog era. Hope you like it!
  8. The booklet has an "in memoriam" section at the last pages. But they forgot to mention that Bob Peck, the british actor who played the Raptor expert in JP (actually, not so expert), died in 1999.
  9. I'm at work now, but latter I'd happy to post printscreens of the Adobe Audition readings of all three releases, so you can draw your own conclusions... Edit: How about if I open a new topic? We're going 30 pages now on this one already...
  10. Well, I think everything in this release sounds louder and more detailed, and the dynamic range is higher (if Adobe Audition is detailing it correctly). Not every engineer can make music like this sounding louder and more detailed and still deliver it with even greater dynamic range than before. Kudos to Matessino for achiving this!
  11. So, this whole 24bit and gazillions of kHz thing is just a marketing gimmick after all? Well, at least that's what I always thought, anyway. I read somewhere that it's just useful as a production format like recording, mixing, mastering and stuff like that. But for the end users like us, it's totally nonsense... 44.1kHz/16bit is more than suitable. I think I saw a video explainining objectively why. I'll try to find it...
  12. Is it me, or anyone else who got the CDs already noticed that the "lesser" 44.1kHz/16bit version actually sounds MUCH better than "superior" 192kHz/24bit version?
  13. I know. But I live in a small and closed world where everything regarding John Williams is a Spielberg/Williams collaboration. I even think Spielberg was at post-production of Star Wars giving directions to Williams about the music, while Lucad was handling the special effects. So don't spoil my illusion. My doctor says it can be very dangerous...
  14. He recomended John Williams to George Lucas, based solely on the previous films they worked together at that time (Sugarland and Jaws), which Lucas could have refused. He could have chosen Jerry Goldsmith because he'd score Planet of the Apes and was more experienced in the movie business, for all we know. So give the guy a break. In spirit, he was there. And I freaking want them remastered. Period!
  15. Basically, E.T., CE3K, Indy trilogy and proper remasters of SW original trilogy... if I'm not asking too much.