phbart

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About phbart

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  • Birthday 06/23/1984

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  1. I'm with you on that one. But I think the remaster is even less fatigueing than the Anthology. The RCA 2CD is a very fartigueing listening experience, but it has a perfect editing and sequencing of the complete music.
  2. Yes, it was. There are great sounding albums from the 70's, 60's, even 50's. You could argue that the original recording was done poorly, but we know it's definitely not the case here.
  3. I gave another go to SW this weekend. From the OT remasters, it's not just the best sounding of the 3, but the best sounding SW release ever. I couldn't help thinking what prevented the original 1977 album to sound great like this...
  4. I really don't see any problems with RoTJ. The sound quality is for me the best it ever sounded. I'd classify it as a "slightly improved 93 Anthology". Yes, it has more hiss the SW and (yuck!) ESB, but I prefer it that way rather than irresponsibly applied noise reduction that sucks the life out of the music.
  5. ESB and ToD are the best JW sequels ever and both are in desperate need of a better sounding release.
  6. I'd love to read this article. Do you know the volume and number where it was published? Oh, and just to add something. The wrong takes from the 93 Anthology weren't because of carelessness. They didn't have enough time to work properly on them, and no paperwork whatsoever.
  7. The difference is that Jaws (like many others 70's Universal films) was recorded with a mono sound mix in mind, so the 3 channels tape are not in Left-Centre-Right configuration with the proper instrument separation that can create a true stereo mix, but rather 3 channels with a group of instruments in each one with the intent to create a mono sound mix. That's why it was difficult to achieve a balance with Jaws. Now Jaws 2, even though the film is mono, was recorded in the LCR configuration, so it was much easier to create a true stereo mix. Which also explains why Jaws OST album is a re-recording and Jaws 2 isn't. The interview with MM from 2015 pretty much explains all this very nicely. Neither above was the case of this ESB release. It's just a fucked up work.
  8. This is an old post from Lukas Kendall at the FSM forum. I hope Disney is not following the same attitude, thinking they're giving us what we want and "to hell with us" if we complain.
  9. Stick with Spotify, if you have. The highest bitrate setup, "Extreme", even though it's lossy OGG file @ 320kbps aprox., makes the audio indistinguishable from lossless 44.1kHz/16bit and even 192kHz/24bit. No audible difference at all between the lossless 192 and the 44.1 versions too, and I spent some good hours yesterday comparing them on my Asus Xonar soundboard that handles 192kHz with perfection. Wait for a MM release if you are to spend money on Star Wars music again. Like Jay said, if it's material that has already been released before, then there's no need for them to review. And TPM UE is pretty much an isolated music track of the film with no new content added, isn't it?
  10. I believe MM said once that JW people asks to listen to the finished material for approval. I believe it was on Jaws he said that (not sure if it's on the booklet or the interview from JWFan). Anyway, how did they approved that???
  11. Is it plausible to say that the left channel came from one source and the right channel came from another source? If that is correct, it might explain what sounds like "reverb" to us, but in fact are 2 channels combined but not 100% synched.
  12. Aurora is high on meth this time. Notice how she's not quite regular on her right side against her left side.
  13. So, the spectral view of the 192kHz/24bit of "Asteroid Field". I'd say it's... well, it looks like... hmm, I guess I can say it's... okay, I don't really know what foul-mouthed word I can use to describe this.