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Schindler's List - 2CD 25th Anniversary Edition from La-La Land Records (2018)


Jay

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The trick is knowing exactly which takes from the sessions the LLL used. I think I already tried lining up the CD2 tracks with the sessions and it wasn't as easy as I expected. 

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5 hours ago, rough cut said:

Perhaps. But I doubt it. Why wouldn’t they?

 

Why wouldnt they?

 

Up until last year they didnt have a great source material for Die Hard. A film only a couple of years older than SL. 

 

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9 minutes ago, Jay said:

If he hadn't, this would have been a single-disc straight OST reissue (with a new booklet).

 

What would the point of that have been, when the original release is still widely available?

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26 minutes ago, Jay said:

everybody who worked on this has long since moved on to making many other JW expanded issues happen so I doubt any explanation for what you are seeing here is coming.

 

The frequency cutoff is such an obvious thing that those who worked on the audio must have seen it. Mike could be asked to comment on it in the next JWFan interview, to enlighten the curious ones.

 

15 minutes ago, Jay said:

Because Spielberg wanted it?

 

I guess someone forgot to tell him the OST is still in print! :lol:

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Thanks @Jay.

 

I am happy with what we got, in terms of extra tracks, less happy that they aren’t 44.1 kHz. 

 

I don’t know why this seems to have been heresy to state considering the fact that it is the industry standard.

 

But I guess it is what it is then - A better source is sitting in a vault, based on JW’s/Spielberg’s reluctance to change the OST, as if it were a historical document. Fair enough.

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2 minutes ago, rough cut said:

I am happy with what we got, in terms of extra tracks, less happy that they aren’t 44.1 kHz

 

The sample rate is 44.1 kHz. The audio frequency of a CD never reaches 44.1 kHz - the maximum theoretically possible is 44.1 divided by two. *Sigh*

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It would be interesting to hear more general technical thoughts from Mike about the varying quality of masters he often has to work with on these catalog releases. No doubt they're often non-ideal.

 

Can frequencies accidentally be scrubbed off during compression, or clipped in an attempt to remove tape hiss? Is there a level of automation that occurs during the scanning process that cleans the audio up, or does Mike handle all that himself with the raw scans? How does he handle the conversion of high resolution multi-track scans into 44.1khz stereo CD audio? Is his editing workflow high definition, and are these releases archived as such for high definition media in the future?

 

The SW demasters are fascinating if you study the spectograms, because you can easily identify flaws in the tracks. I'd love to hear his thoughts on that (but presumably he's not at liberty to talk about those scores atm). And it would be nice to have confirmation about that rumour of some Empire master tapes disintegrating while being scanned for the SEs. I really hope that's just an urban legend! 

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11 hours ago, crumbs said:

And it would be nice to have confirmation about that rumour of some Empire master tapes disintegrating while being scanned for the SEs. I really hope that's just an urban legend! 

 

I think you're referring to the quarter-inch tapes disintegrating as they were being transferred for the Anthology box; that incident is mentioned in page 21 of Chris Malone's article. In any case, they were not the original 24-track tapes, only a copy of the film mixes (the best source at the time, circa 1993).

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  • 2 weeks later...

So I compared the track The Perlman Family (from the LLL set) with 10M1 Tk55 (using a MP3-320 rip of the sessions), and as you can see the frequencies on the session rip are not cut at 16 Khz) :

image.png

 

So I still don't really know what happened, either Mike did something wrong when editing the tracks or he used another inferior source.

 

And by the way, to me the beginning of I Could Have Done More (Film Version) sounds like a badly compressed MP3, does anyone else have the same feeling?

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I think both the sessions leak and the tracks that appear to be lossy on the LLL set come from the digital master.

 

As you can see, high frequencies look clean which is a typical thing from digital sounds:
image.png

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I was dreading that comparison discovering something like that. So either Mike was given dodgy source material for both Azkaban and Schindler's List, or something in his workflow is creating clipped frequencies. Very disconcerting.

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Just now, crumbs said:

I was dreading that comparison discovering something like that. So either Mike was given dodgy source material for both Azkaban and Schindler's List, or something in his workflow is creating clipped frequencies. Very disconcerting.

I doubt this is the same problem as Azkaban. These tracks look and sound like lossy tracks, Azkaban has some frequencies curves but it sounds OK.

Just now, Jurassic Shark said:

So basically, Mike could have done more.

Stop that!

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I don't envy the position he was in. No doubt everyone at LLL wanted to do fresh scans of the analog master tapes that were reportedly vaulted in mint condition (and would probably have avoided this outcome). Alas, when the composer himself insists on using the existing files (and budgetary factors prevent new scans), things like this happen.

 

It's still utterly bizarre though. Digital files don't degrade; they certainly don't lose frequencies over time. The clipping above 16k seems deliberate?

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Possibly the studio didn't even bother looking for the original, leaked, better digital source and just sent the first clipped batch they could find? Maybe whoever leaked it stole it!

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11 minutes ago, crumbs said:

The clipping above 16k seems deliberate?

 

It certainly looks very unprofessional to basically just clip the frequencies instead of applying a gradual fade-off.

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2 minutes ago, Jurassic Shark said:

Could it be ringing due to the abrupt frequency cutoff?

No, just compression artifacts ala MP3 128kbps

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6 hours ago, crumbs said:

I don't envy the position he was in. No doubt everyone at LLL wanted to do fresh scans of the analog master tapes that were reportedly vaulted in mint condition (and would probably have avoided this outcome). Alas, when the composer himself insists on using the existing files (and budgetary factors prevent new scans), things like this happen.

 

It's still utterly bizarre though. Digital files don't degrade; they certainly don't lose frequencies over time. The clipping above 16k seems deliberate?

Yeah, but I want to know more about that. Why was the budget so small? Because JW didn't want a remaster? Seriously, who allocates a small budget to Schindler's List re-issues? Who does that? It's mind-boggling.

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