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What's the best sounding recording of a John Williams score?


Sharkissimo

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Maybe Harry Potter and the Chamber of Secrets. Of course it helps that the LSO played its balls off for that score

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Nah, Munich doesn't sound that great. I dunno what happened there.

WOTW was cranked up too high on the OST, but sounds better in the recording sessions

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ET does sound amazing, for sure

Also something about Last Crusade sounds little off too, sometimes. Though the expanded version was a huge improvement on the OST sound, actually

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A.I. sounds like pure shit. There's this one track, I think Replicas or something that is so hissy, it sounds like they left the door open while recording during a fucking tsunami.

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I love A.I. as a score, but some days I wish the recording was less washy.

I know it's largely disliked here but I don't mind the sound. Maybe I've just gotten used to it. There are certainly some strange things happening, particularly with the strings. One of those guys at the shrine who does custom mixes did one that's a decent improvement over the OST.

I'm a big fan of HPSS's recording. Lincoln has a very subtle, dignified sound.

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That's weird, because I think every single title mentioned after my post sounds great -- in fact, some of them sound spectacular!

You perhaps arent the best person to judge though, with your hearing issues.

Well, I've always felt that way -- even before the tinnitus! It sometimes astounds me what level you guys set for sound quality. I mean, if you find these recent albums so bad, what do you think about the REALLY scratchy stuff back in the day? Or something like the ghastly sound quality of RAIN MAN on Perseverance(?).

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I know this is supposed to be about the best recording, but is it just me or is the quality on a lot tracks of the Memoirs of a Geisha soundtrack really crappy?

Like A.I., portions of this one were recorded at Royce Hall... I've wondered if that has something to do with it.

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I think we have to go WAY back untill we find a Williams soundtrack that does not have a satisfactory sound, IMO. Maybe as far as the 60s or early 70s.

A.I. is one of the worst sounding modern recordings I've heard.

CE3K sounds awesome. Also the original E.T. album, though it could use a bit of remastering (and not of the sort Murphy used for the latest expanded release).

Rosewood (recorded by Dennis Sands) is one of the best.

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I'm sure there are others but Rosewood and La-La-Land's Empire of the Sun sound great. I don't really associate John Williams scores with great sound quality to be honest.

Yeah, Lalaland's Empire of the Sun is great too. I like Hook (complete) and 1941 (complete), Close Encounters (expanded), ET (20th anniversary) all of which I think sound amazing considering their age. So what do you consider to be a score with "great sound quality"?

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I'm suprised that Star Wars is only remotely mentioned here on this thread as a benchmark of quality sound recording.

I guess some tracks did sound more hissy or flat than others on it (e.g. The Desert Sea of Tatooine).

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I'm suprised that Star Wars is only remotely mentioned here on this thread as a benchmark of quality sound recording.

I guess some tracks did sound more hissy or flat than others on it (e.g. The Desert Sea of Tatooine).

Well frankly I would say it has more of a distinctive sound than a high quality benchmark sound. There is a huge difference in sound quality between Star Wars, The Empire Strikes Back, and Return of the Jedi. I know a big part of this was the budget and technology evolved tremendously between 1976 and 1983. But I can't say Star Wars is a benchmark except for it being a benchmark of the "vintage" Star Wars sound that was out of style at the time of Empire.

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I sorta agree; I thought the first two Indy scores (and Jedi to some extent) had a better balance of grit and warmth.

Who mixed Jerry Goldsmith's later scores? Those sound absolutely fantastic!


I love the sound of Jerry's late 70s to mid-80s scores. ST:TMP, THE FINAL CONFLICT and LEGEND are highlights, but from about 88 onwards they start becoming too wet.

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Williams needs Meyerson for SWVIII!

I love Zimmer, but fuck noooooo! Death by ambient mics.

Ah yeah I know you prefer a close, punchy sound. Depends on the music for me, I guess.

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I think E.T. is the start of Williams' recordings sounding really, really good

Bruce Botnick.

For the record, Shawn Murphy's remix for the 20th Anniversary did a disservice to an already perfect recording/mix. I'm still baffled that they allowed that bastard to screw with it.

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I'd list ET, TLW, the first two Potters, and the TPM UE among my favorites. I find that all of these do a nice job of balancing brilliant technical precision with a sense of warmth and humanity, although some of them lean more in one direction than the other. Then there's Raiders, which has a wonderfully inimitable sound - much more brassy and ballsy than most orchestral recordings. I don't think every score would necessarily benefit from such a treatment, but it's sure perfect for that one.

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Williams needs Meyerson for SWVIII!

I love Zimmer, but fuck noooooo! Death by ambient mics.

Ah yeah I know you prefer a close, punchy sound. Depends on the music for me, I guess.

To be fair, I'm fine with distant miking for synth pads, woodwind choirs, human voices, and anything sent through amps. I'm just touchy about brass, especially trombones - spot miking all the way for me, with a bit of hall ambience dialled in.

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In this present day of recording technology and sound mixing, there should be no excuse for a subpar final mixdown that leaves hissing and other ambient noise in the background.

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