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voltisubito

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voltisubito last won the day on May 2 2018

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  1. Whoops - the editor of that video added in a extra quaver to the final bar (immediately before the final triplet), which is why it sounds out of kilter. Happily it's correct on the streaming/download version of the album.
  2. Brilliant performance of Star Wars by the LSO tonight at the Royal Albert Hall. Not sure if this is part of the standard Live-to-Projection programme, but the Fox Fanfare was played live together with the Fox logo immediately before the "A long time ago..." title. Edit: Ah, apparently it is.
  3. The longest serving LSO members on stage (going by the programme listing) were: Colin Renwick (1st violin) [Tne Empire Strikes Back (1980), Raiders of the Lost Ark (1981)]; Jennifer Brown (cello), Noel Bradshaw (cello) and Patrick Laurence (double bass) [Return of the Jedi (1983)].
  4. Wonderful concert full of highlights: Loved how menacing the low horn statement was at the beginning of Close Encounters, Katy Woolley (principal horn) was consistently brilliant, as was Juliana Koch's oboe solo in Dracula. A real shame then that, as predicted, Classic FM's compressor completely obliterated the dynamic range of the performance heard in the hall and scuppered any attempts that were made to mix the audio. The station has much to learn from how BBC Radio 3 broadcasts live music. Laurent Ben Slimane (Philharmonia) I believe. Not sure who Oboe 2 was (she wasn't Rosie Jenkins as listed in the programme), and Rebecca Gilliver was principal cello on the night.
  5. Assuming you mean 60 kHz, would overtones reaching that far up and beyond be present on analogue tape? In fact, the 24/192 transfer in the 2016 release of this cue rolls off at ~45 kHz. The real indicator of the problem lies in the audible range. The problem seems to be inherent to the right-channel of the affected cues, rather than a perceived effect by the listener caused by the channels being out of phase. Take, for instance, the cue mentioned by @Jay ("Battle in the Snow"). The bottom image here shows that the mid- to high-range of audible frequencies are attenuated compared to the left-channel, hence the muffled quality: Much better balanced previously. The 2016 release is my favourite ESB release in terms of sound quality.
  6. I've now listened to TPM, ANH and ESB on CD. A New Hope sounds fantastic, with lots of detail revealed in this mix. Empire, on the other hand, is all over the place. Heavy handed use of reverb and incorrect stereo panning on certain tracks as mentioned by others (I thought there was an issue with my headphone's right speaker initially!). Hyperspace might be the most noticeable improvement. Disappearing cymbal still present in The Imperial March, and various other oddities.
  7. When downsampling for CD (44.1 kHz sample rate), any part of the audio signal above 44,100/2 = 22.050 kHz frequency (the Nyquist frequency) will be removed by a low-pass anti-aliasing filter. This is the highest frequency at which audio can be reproduced without error. If there's a high-resolution release of these remasters, you shouldn't see this cut-off.
  8. This remastering is certainly a new listening experience, and a very enjoyable one. There is more detail revealed, but I don't think that's simply due to the tracks being mixed/mastered to higher level (loudness wise, and some more so than others). On a side note, I hadn't noticed before how the timps are mixed hard left on some cues, and centre/right on others. By far the most marked difference is in Augie's Municipal Band, which now sounds more bizarre than ever. The synthesized sound of this cue is more apparent, is quite dry and has minimal reverb in comparison to the 1999 OST. For those of you who are interested in such things, here are the waveforms/spectrograms of the first two tracks:
  9. The front artwork is as the press release: The back: The fold out poster is an image of a slightly puzzled-looking Qui-Gon Jinn holding his lightsaber.
  10. The Phantom Menace arrived today. I've only had a chance to briefly A/B the first two tracks (Main Title/The Arrival at Naboo and Duel of the Fates) against the 1999 release, but my first impressions of these are that the remastered versions offer greater presence and clarity without sacrificing dynamic range, and that the 1999 versions sound muddier. The snare drum in the Main Title is much snappier and the brass sounds crisper. There's an interesting difference I noticed in Duel of the Fates at around 2:55 onwards. In the 1999 OST, the trumpets (in octaves) play on the offbeat a figure that is repeated once; in the new remaster, the line seems entirely different (not sure if it's been remixed or from another take) - the trumpet sounds the lower notes then rises up the minor triad on the repeat. Hard to describe in words, but it'll be quite apparent when you hear it. The production credits are: Recording/mixing: Shawn Murphy Transfers from analog masters to Hi Res digital: Dann Thompson Pre-mastering production: Shawn Murphy and Dann Thompson (assistant) at Skywalker Sound Editing: Mark Willsher and Timeri Duplat Mastering: Patricia Sullivan at Bernie Grundman Mastering Anyway, now to listen to the rest of the album!
  11. Those samples (https://www.amazon.fr/dp/B07BQP1GBK) are identical to the ones offered on this page: https://www.amazon.fr/Star-Wars-Nouvel-Espoir-Originale/dp/B01N0U9SSC/ i.e. the existing digital release of the OST. They are the same files. They are joint stereo mp3 files encoded at 64 kbps with a sample rate of 22050 Hz. Presumably the correct samples will be published in due course.
  12. Solo, as is the case with a lot of film session work in London, is being recorded by an orchestra comprising musicians from across London (see the earlier tweet) contracted by Isobel Griffiths. The LSO is engaged in a tour at the moment, but stopped off at the Barbican last night to give a fantastic concert of Berlioz and Schumann.
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