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Did MV from LLL just confirm their next three John Williams titles?


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1 minute ago, Evil-Lyn said:

The softer parts have a tendency to be a bit overly soft and you really want to crank it up. But then it suddenly gets loud and you're flying across the room like Martin McFly.

 

There's a trick to dealing with this that I learned while playing some 80s Kunzel CDs. Set the volume to the highest tolerable level in relation to the loudest parts, and don't touch the volume at all after that. That way, when it does peak, it won't blast you to Kingdom Come.

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1 minute ago, Baby Jane Hudson said:

 

For the most part, yes. But I've found ID4 an example where the OST was more dynamic than the expanded, and Home Alone 2 had more punch than the later versions (did MM work on those?), and the Jaws 2 OST from Varese sounds better than the Intrada.

MM worked on Home Alone 2 as an editor (reconstructor of the music, assembly and editing). The tech part was done by someone else. The 2002 Varese and 2012 LLL are identical. In the 2012 he's also credited as "revised mastering by".

 

About Jaws 2, here's another touchy subject. Regarding the OST version, I do prefer the Geffen digital release better than the Varese CD and Intrada CD2. MM did sort of criticized the digital release for using "brick wall compression", but to me, it does sounds more alive than the previous and latter releases.

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1 minute ago, phbart said:

About Jaws 2, here's another touchy subject. Regarding the OST version, I do prefer the Geffen digital release better than the Varese CD and Intrada CD2. MM did sort of criticized the digital release for using "brick wall compression", but to me, it does sounds more alive than the previous and latter releases.

 

You're exactly who the music industry loves.

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I don't see the need for any version other than the OST of Jaws 2. It's always been one of the best-sounding Williams scores on CD in my opinion. The version packaged with the complete score doesn't sound any better. It's just louder. I previewed it and didn't bother ripping it.

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Just kidding! I'm not hurt. :)

 

The Jaws 2 OST on Intrada CD2 sounds mostly identical to the Varese CD, and looking at the spectral analysis of both on Adobe Audition just makes me more suspicious that MM did the same here as he did on Jaws OST of Intrada CD2. He used the same digital master (as it was the only source available) with a little tweaking here and there.

 

Now, what I said about the Jaws 2 digital release sounding more alive than the CDs is not because of that brick wall filtering thing (another brick in the wall?), but because it actually was sourced from a master tape. MM himself said in his 2015 interview here that the Geffen team located that tape independently elsewhere, as Universal told that no such tapes existed.

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Yes, the mastering may not be done properly, but the source was clearly superior to the one used for Intrada. I can imagine MM being really pissed at this situation. Those tapes, in his hands, could yield much better results.

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22 hours ago, Brundlefly said:

The only thing I can deduce from MM's post is that there will hardly ever be a chance to celebrate those two specific score's birthdays like that. There's no better way to celebrate a score's anniversary with an expansions! That's all MM said.

Obviously no one is going to celebrate the Far and Awy anniversary, but is that a reason not to expand its score? It's a great JW score, surely that's more than enough reason to do it?

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15 minutes ago, phbart said:

Yes, the mastering may not be done properly, but the source was clearly superior to the one used for Intrada. I can imagine MM being really pissed at this situation. Those tapes, in his hands, could yield much better results.

 

Disappointed in Geffen because I have that company's old Gremlins CD, which sounded good.

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Most of us listen to that stuff on the street and not in secluded hi-fi environments, so i don't see what harm  a little loudness does.  Generally the sound field is dramatically enlarged in the new releases, meaning you hear instrumental depth and detail mastering and recording techniques in the 70's could not cover. And i have listened to enough music in my life to differentiate between pure bullshit (the mastering of the original 'Matrix Revolutions') and discreet modernization ('Jaws 2').

 

What i read from the posters above me is idiot hyperbole.

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It's seldom I balk at a poorly done remaster. I don't think I've ever did so at a soundtrack re-release.

 

However, I respect people who care about such things. I think it's ridiculous when people who listen to music through ear pods or their laptop complain about the sound quality in terms of mastering. How nuanced can it be, lol???

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Well nothing when it comes to listening to music while on the move. But I think that a decent pair of closed-back studio headphones will give the listener a more fair representation of what's in the audio file, especially if you're listening to lossless - a chain is only as strong as it's weakest link. No need for expensive equipment if all you're listening to are mp3s/spotify.

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So do I! : ) You know, a lot of people claim there's no discernible difference between a flac and a converted mp3 of the same file.

 

I am perhaps not the one to be a judge of such things, but I do hear a difference when listening on my ear buds compared to my studio headphones. As do I hear a difference from my own humble hi-fi system, to when I go to my mates house and he plays me something on his high-end, spare-no-expense high fidelity stereo equipment. The bastard. = P

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10 hours ago, publicist said:

Most of us listen to that stuff on the street and not in secluded hi-fi environments, so i don't see what harm  a little loudness does.  Generally the sound field is dramatically enlarged in the new releases, meaning you hear instrumental depth and detail mastering and recording techniques in the 70's could not cover. And i have listened to enough music in my life to differentiate between pure bullshit (the mastering of the original 'Matrix Revolutions') and discreet modernization ('Jaws 2').

 

What i read from the posters above me is idiot hyperbole.

 

I'm not a fan of excessive loudness (I also rarely listen to music on the go, and I believe music quality shouldn't be reduced for these situations, when modern technology is perfectly capable of doing on the fly dynamic compression when necessary). But extreme dynamic range is also not desirable. People who don't believe that should listen to Karajan's recording of Der fliegende Holländer. It's an early 80s digital recording, and the dynamic range is so excessive as to make it nearly unlistenable. No matter how much I crank up the volume, half of the music is barely audible, but then the loud bits will blow out your ears.

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24 minutes ago, Marian Schedenig said:

 

I'm not a fan of excessive loudness (I also rarely listen to music on the go, and I believe music quality shouldn't be reduced for these situations, when modern technology is perfectly capable of doing on the fly dynamic compression when necessary). But extreme dynamic range is also not desirable. People who don't believe that should listen to Karajan's recording of Der fliegende Holländer. It's an early 80s digital recording, and the dynamic range is so excessive as to make it nearly unlistenable. No matter how much I crank up the volume, half of the music is barely audible, but then the loud bits will blow out your ears.

 

Is it this one?

 

http://www.ebay.co.uk/itm/301850783834

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Whoever is listening to music on the street with a lot of traffic noises around him must not complain about the fact that he cannot hear the quiet parts. That's his problem and dynamic range shouldn't be adapted to that situation. I don't want another "even grandma would never complain that it suddenly becomes too loud"-release à la The Fugitive by LLL!

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15 minutes ago, Baby Jane Hudson said:

 

Different release than I have (https://www.amazon.com/dp/B000002S4R/), but same recording, yes.

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