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Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)


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The very first post in this thread explains how Shawn Murphy supervised new transfers of the original elements, and then they rebuilt the albums from those session takes.  Confirmed by a private message from Shawn Murphy to Amer here.

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It's quite pleasing news to hear they dug up original session elements and had brand new modern digital transfers done of them, supervised by an expert in that field.

 

The fact that they then chose to rebuild the OST albums from those transfers instead of hiring Mike M to take those transfers and create new expanded releases is kind of a bummer, but also not entirely unexpected; Maybe someone figured they would get the OSTs out now, earn a little income, and then use that to fund expanded releases.  Or something.  Who knows.

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Has anyone else heard the remasterings on the "Correllian Edition" album? It has six cues from the OT. They sound unique from all the other remasterings. It kind of sounds like they just put a ton of reverb over the Sony album cues to hide how bad they sounded.

 

Also, since it apparently was included in that 2007 box set, does anyone know if the 2004 Sony albums that were included in that box set were clones of the 1997/2004 albums or if they also contain a new remastering like the Corellian Edition?

 

Here are four of the OT cues included on the compilation. It also has "Sail Barge Assault" and "End Credits" from ROTJ, but the sound is muted on those videos.

 

 

 

 

 

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I have the corellian edition CD, because it has been reissued in the 4 CD Sony boxset Great soundtracks.

 

Except for the Flag Parade that appears in a clean edit, I never noticed any improvement... In fact, I really don't care, it's such a strange compilation, I never really understood it's purpose.

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32-bit sound transfer? That's totally insane, even for mastering! It's a whopping dynamic range they have available for such a limited source as decades old analog tapes. It will only take up space on their hard drive with no real benefit. Those CDs are better have dynamic ranges close to what 16-bit audio can really offer, or I'll give Murphy hell! 😬

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6 hours ago, Jay said:

Or something.

 

original.jpg

 

Dis isn't how it's supposed to be! Matessino! Finish them off! The OSTs are still coming through! Where are those complete scores?

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9 hours ago, Fal said:

Maybe they wanted something that would match the 7 and 8 OST's?

 

Except that the ROTJ album is the oddball of the set. Maybe they should have trimmed the existing STs of I-V and VII-VIII down to +/- 45mins? My pedantisism can't handle the inconsistency! I feel a whittle is incoming...

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6 hours ago, JTWfan77 said:

 

Except that the ROTJ album is the oddball of the set. Maybe they should have trimmed the existing STs of I-V and VII-VIII down to +/- 45mins? My pedantisism can't handle the inconsistency! I feel a whittle is incoming...

 

That's not a bad idea.

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I forgot we already have the single LP release of ESB as a template, except it needs to start with the Main Title and end with the Finale of course.

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12 hours ago, phbart said:

32-bit sound transfer? That's totally insane, even for mastering! It's a whopping dynamic range they have available for such a limited source as decades old analog tapes. It will only take up space on their hard drive with no real benefit. Those CDs are better have dynamic ranges close to what 16-bit audio can really offer, or I'll give Murphy hell! 😬

 

You don't know what you're talking about here.  There is no downside to transferring old analog masters in 32bit instead of 24 bit, only upside!  Hard drive space is a non issue these days, and the guys doing the editing and mastering in pro tools using 32bit files is again only a good thing, its the highest possible quality.  Some guys are even recording/transferring up to 384khz these days too.  It's outside the range out what the human ear can hear, but its maintaining highest possible quality throughout which is never a bad thing.  The use of dithering to mask artifacts when downsampling to  24/48 or 16/441 is perfect these days too.

 

Long story short, we should be glad Murphy transferred them at 32/192 instead of 24/192, there's no problem at all with that choice.

 

 

1 hour ago, phbart said:

@Jay, do you have any info about hi-rez digital release for these?

 

I certainly have no insight into how Disney Records chooses to sell their releases.  They wouldn't even give JWFan a review copy of the TFA or TLJ OSTs for review.  Sony still gives us review copies of all new JW releases they do.

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8 minutes ago, Jay said:

 

You don't know what you're talking about here.  There is no downside to transferring old analog masters in 32bit instead of 24 bit, only upside!  Hard drive space is a non issue these days, and the guys doing the editing and mastering in pro tools using 32bit files is again only a good thing, its the highest possible quality.  Some guys are even recording/transferring up to 384khz these days too.  It's outside the range out what the human ear can hear, but its maintaining highest possible quality throughout which is never a bad thing.  The use of dithering to mast artifacts when downsampling to  24/48 or 16/441 is perfect these days too.

 

You don't seem to know what you're talking about either... The number 384kHz refers to the sampling rate, which is entirely different from the sound frequency, but a property of sampling is that the max. supported sound frequency equals about half the sampling rate. :)

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I am well aware that 384khz is the sampling rate and don't know why you think I didn't know that.

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27 minutes ago, phbart said:

You know "2001" is a movie, right?

 

Yes, I know that 2001:ASO is a film, and I'm sure that Jay does, as well.

Do you know that I first saw 2001, at the cinema, sixteen years before you were born?

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1 hour ago, Jay said:

I am well aware that 384khz is the sampling rate and don't know why you think I didn't know that.

 

Because you write that 384kHz is "outside the range of what the human ear can hear", but it's not possible to reproduce sound frequencies of 384kHz by sampling at 384kHz.

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1 hour ago, Jay said:

 

You don't know what you're talking about here.  There is no downside to transferring old analog masters in 32bit instead of 24 bit, only upside!  Hard drive space is a non issue these days, and the guys doing the editing and mastering in pro tools using 32bit files is again only a good thing, its the highest possible quality.  Some guys are even recording/transferring up to 384khz these days too.  It's outside the range out what the human ear can hear, but its maintaining highest possible quality throughout which is never a bad thing.  The use of dithering to mask artifacts when downsampling to  24/48 or 16/441 is perfect these days too.

 

Long story short, we should be glad Murphy transferred them at 32/192 instead of 24/192, there's no problem at all with that choice.

 

Ok. There's no point in arguing with you about anything. Not that I care, but I should've known better by now.

 

And boy, where in the hell did I mentioned sampling rate? I mentioned bit depth. Both are crucial regarding the sound quality, but have different functions. Apparently, you don't know much regarding either. I'm no genious at it. Far from it, I'll admit, but I know enough to realize it's definitely not the higher the better.

 

Just take a look a this very instructive video about digital audio. The engineer there explains everything in a very didactic way. It's subtitled, in case you need it

https://xiph.org/video/vid2.shtml

 

 

15 minutes ago, Richard said:

Yes, I know that 2001:ASO is a film, and I'm sure that Jay does, as well.

Do you know that I first saw 2001, at the cinema, sixteen years before you were born?

That explains why you don't remember. :lol::lol:

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35 minutes ago, King Mark said:

 the Star Wars fans of today want it at 128kbps on Spotify on their smart phone

 

You call these fans? They're crackheads who happen to have a passing interest in Star Wars for reasons unknown. :D

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6 minutes ago, Jurassic Shark said:

 

Some people at this forum are quite critical towards Murphy's work with JW.

After the Indy boxset... count me in!

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1 hour ago, Jurassic Shark said:

 

You don't seem to know what you're talking about either... The number 384kHz refers to the sampling rate, which is entirely different from the sound frequency, but a property of sampling is that the max. supported sound frequency equals about half the sampling rate. :)

So it's not "entirely different from the sound frequency".

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There's no point in having spectral frequencies far above 20kHz. 30 and 40 kHz maybe, but you don't sample at 384kHz in order get sound frequencies up to 200kHz. Rather, you do it for the temporal resolution.

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I apologize for my poor word choice earlier.  Clearly we both know what we're talking about.

 

In the end, I am sure Shawn Murphy knows what he is doing, and the new sets will sound fine.  That is all that really matters.

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