thx99

Oops, yes.
 
Love this bit:
 
 

Yes, that is true, but not with this release.  No signs of 96 kHz upsampling or straight 16-to-24 bit up-quantization.

By looking at the spectrum (that is, frequency content) of the recording and also quantization level analysis (that is, looking at the distribution of the amplitude levels of the audio samples).
 
With the spectrum, if you have content sampled at CD quality (44,100 samples/second or 44.1 kHz) and you simply resampled it to 96 kHz, you're not actually gaining any new spectral content above 22.05 kHz (the peak of a 44.1 kHz sampled signal).  The spectrum would show a brickwall dropoff at 22.05 kHz and either no content or noise between 22.05 kHz and 48 kHz.  A recording originally made at 96 kHz, however, will not have the brickwall dropoff.
 
And regarding the bit depth, if you take 16-bit data and simply convert it to 24-bit, you are not adding any detail to the recorded audio samples.  You're simply multiplying the 16-bit values by 256, or in the digital sense, you're adding eight 0s to the 16-bit values.  So when you look at the distribution of the amplitudes of the samples, you will see that they only appear in multiples of 256 (0, 256, -256, 512, -512, and so on).  There are no samples in-between these values.  But if you record at 24-bit originally, you will (likely) have samples with amplitudes at all different values at the full 24-bit resolution.
 
Graphically, here is an example from the Qobuz offering of Intrada's 3-CD release of Inchon, reflecting 44.1 kHz content upsampled to 96 kHz and 16-bit data directly up-quantized to 24-bit (note: I've added vertical markers at 22.05 and 24 kHz to reflect the crossover points of content recorded at 44.1 and 48 kHz, respectively):

And here is an example from the recent On Dangerous Ground re-recording from Intrada...
 

Yes, I went down that particular rabbit hole...
 
I procured a supported blu-ray player, bought an aging MacMini and read thousands of posts until I was able to get my first SACD to rip properly.  And it seems to work just fine!  Files are saved as .dsf which I convert (losslessly) to .FLAC for storage on my server.  I mostly went through all this trouble to get to the multichannel programs on certain SACDs
 
I've taken advantage of the new-ish Vocalion re-releases of the Charles Gerhardt discs to get hi-res and multichannel rips of some of the best film music collections ever released!

NEW UPDATES AVAILABLE:
 
Walt Disney
Loki [Season 2] (Natalie Holt) [56 cues, 2:01:53]  
 
Kudos to @filip for the heads-up on the addition of the Volume 2 tracks, expanding the offerings from 25 cues to 56 cues!!

NEW UPDATES AVAILABLE:
 
Walt Disney
Loki [Season 2] (Natalie Holt) [56 cues, 2:01:53]  
 
Kudos to @filip for the heads-up on the addition of the Volume 2 tracks, expanding the offerings from 25 cues to 56 cues!!

loki page updated with vol2 hires, guess I can now buy the digital...
 
watch out for the first volume batch of links because a few are missing on the new page.

"FSU University"
 
Lord help us.

I'm conflicted on this album, having attended the University of Florida and then transferring to (and graduating from) the University of Miami.
 
In all seriousness, always great to hear new recordings of Williams' music played by a wind ensemble.  Will have to check it out!

Video 8 [CnSfGe_sHrh].mp4  
 

It appears that a Florida State concert from 2022 has been released on CD and digitally. Available at Presto, Qobuz and probably most other sites (but I have not checked them).
 
From the Mark Records website:
 
ALBUM NOTES John Williams is, without question, one of Americas greatest composers. His vast career began in the 1950s and has continued for seven decades. During this time he has received twenty-five Grammy Awards, five Academy Awards, and countless other awards and recognitions. In 2005, his soundtrack to the film Star Wars (1977) was selected by the American Film Institute as the greatest movie score of all time. While he is best known for his collaborations with Stephen Spielberg and George Lucas, his vast body of work includes television, music composed specifically for the Olympic Games, stand-alone classical compositions, and a thirteen-year tenure as conductor of the world-renowned Boston Pops Orchestra.

Tonights concert is a celebration of this extraordinary composer in the year of his ninetieth birthday. We are pleased to feature music from his most popular and enduring film scores. All of the arrangements used this evening were created at Williams request specifically for the two occasions when he conducted the The Presidents Own United States Marine Band. We hope you enjoy our tribute to this musical genius.

NOTES ON THE PROGRAM
The premieres for the following John Williams Signature Edition arrangements for wind ensemble coincided with the 205th and 210th anniversaries of the United States Marine Band - in 2003 and 2008 respectively - performed at the John F. Kennedy Center for the Arts in Washington D.C. and conducted by the legendary composer, John Williams. The subsequent program notes are John Williams original words relayed here for you from the conductors scores, including edits for content and length.

1. Overture To The Cowboys (1972) 

2. The Jedi Steps & Finale (2015) 

3. Viktors Tale (2004) 
Deborah Bish, clarinet

4. Adventures On Earth (1982)

5. Raiders March (1981) 
Nickolas Doshier, graduate associate conductor

6. Theme From Schindlers List (1993)
Benjamin Sung, violin

7. The Imperial March (Darth Vaders Theme) (1980)

8. Star Wars Main Title (1977)

NEW SCORES AVAILABLE:
 
Walt Disney
Iwájú (Ré Olunuga) [43 cues, 1:26:46] No One Will Save You (Joseph Trapanese) [33 cues, 1:13:48] Quiz Lady (Nick Urata) [23 cues, 35:06]  
 
Kudos to @filip for the heads-up on these!!

There was an overhaul on amazon's site.
 
One track in Corsets and Clownsuits (though I think this was already there before).
Some tracks from the first episode of Expats up with 2024 in web title. Guess we're officially in 2024 era.

NEW SCORES/SONGS/UPDATE AVAILABLE:
 
Amazon Prime Video
Maxine's Baby: The Tyler Perry Story (James Poyser) [26 cues, 53:30] Red, White & Royal Blue (Drum & Lace) [60 cues, 1:24:51]  
Apple Original Films
Still (John Powell) [19 cues, 43:15]  
Focus Features
Holdovers, The (Mark Orton) [13 cues, 25:38]  
Netflix
American Symphony [Song - "It Never Went Away" (Jon Batiste & Dan Wilson), 03:49] [NOTE: Higher-quality MP3 is now available.]  
Searchlight Pictures
Flamin' Hot [Song - "The Fire Inside" (Diane Warren), 03:20]  
Walt Disney
Echo (Dave Porter) [22 cues, 1:17:21] What If...? [Season 2] (Laura Karpman) [11 cues, 34:51]  
 
Kudos to @filip for the heads-up on all these, except for The Holdovers which I discovered even though it's not "advertised" on the Focus Features site.

They added more to DSN's page. Quiz Lady, Iwaju, No one will see you.
 
Only mp3s though.

Echo and What If season 2 hirez soundtracks available.
 
What if has one extra track compared to the version on qobuz but I'm not familiar with the show to say what it is, maybe it's from the first season even.
 
Has anyone tried figuring out Loki2vol2?
 
Edit:
Also red white royal blue on amazon.
As well as maxines baby.
 
Edit2:
Still on apple. Tracklisting seems like the OST at first glance but it's not exactly.

https://variety.com/2024/film/news/john-williams-oscars-star-wars-steven-spielberg-collaborations-1235929403/

Jumping in a bit late on this but I think the primary issue isn't a phase differential, but rather, both channels of "Solitude" and "Nocturne" (and "Hunt Scherzo" and other cues as well) have a "comb filtering" effect which is causing the aural artifacts.  Comb filtering is the application of notch filters at a fundamental frequency and its harmonics (e.g., 60 Hz fundamental and 120 Hz, 180 Hz, 240 Hz, and so on), like teeth of a comb, which causes a periodic peak/trough shape (pseudo-sinusoidal) to the overall spectrum that colors the sound.  There could be other reasons beyond the manual application of a filter for the effect to occur.  (I've commented previously about the same issue marring the Intrada CD release of Robert Folk's In the Army Now score.)
 
The "white horizontal lines" mentioned by @Chewy in his post above, with the spectrogram graphic, represent the troughs caused by the comb filtering effect.
 
To visualize the effect differently, here are the left and right channel spectra for "Solitude", "Nocturne", and "Hunt Scherzo"...
 
 

It's an excellent performance let down by technical issues that mar a few tracks. I can live with the artefacts, but they really shouldn't be there. 
 
I'll defer to @thx99 for a more detailed explanation:
 

I'm happy to say I finished archive.org-ing all of the links in this thread; I did it with a script instead of by hand so please let me know if there are any that it missed

https://www.discogs.com/release/29790961-Bernstein-Williams-James-Ehnes-Saint-Louis-Symphony-Orchestra-Stéphane-Denève-Serenade-Violin-Conc
 
This might actual come from a live recording from November 2019, with Williams in attendance. If that's the case, the original concert line up included Barber's Adagio and Saint-Saens' Organ Symphony.
Of course, until more info is out, they might have the recorded the concerto during the rehearsals. 

After a very long time I am very proud to introduce the fully redesigned FMDB - you can find it under https://www.fmdb.net
 
The vision of this non-profit project is to provide a comprehensive and detailed database of soundtrack releases and recordings. Each release contains at least one production (e.g. a film) with its own credits. This makes it possible to accurately list the various credits. General credits for the entire release are listed separately. Individual tracks are assigned to productions, so you can see which film, TV series or video game they come from. Want to see which episode the tracks from the many STAR TREK releases are from? No problem at all.
 
But all this only works with people who are as obsessed with detail as I am. And I'm looking for you. To make sure the quality is right, there should be a group of people who take care of it, like curators in a library.
 
The next feature will be the ability to create your own user account. You will then be able to report errors in records.
 
I'm happy to receive any kind of feedback to help make FMDB a viable tool for the soundtrack community.

Might be a bit too active…
 
 

Oscar nominations - JW gets to party for another year:
 
Music (original score)
American Fiction - Laura Karpman
Indiana Jones and the Dial of Destiny - John Williams 
Killers of the Flower Moon - Robbie Robertson
Oppenheimer - Ludwig Göransson
Poor Things - Jerskin Fendrix
 
Music (original song)
The Fire Inside — Flamin' Hot
I'm Just Ken — Barbie
It Never Went Away — American Symphony
Wahzhazhe (A Song for My People) — Killers of the Flower Moon
What Was I Made For? — Barbie

Just noticed that the Hunter Eberly recording of the Trumpet Concerto is finally available, FYI:
 
EDIT: Here is the press release from DSO:
 
https://www.dso.org/watch-listen-and-connect/newsroom-2/new-dso-recording-john-williamss-trumpet-concerto-with-principal-trumpet-hunter-eberly-on-naxos-label