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Chris Malone

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  1. Thank you for your support! There have been a few projects where we have a sort of “standing order” that says—if stereo/multi-track elements ever show up, we’ll certainly do it over. The 1967 Casino Royale is an example where that’s the case. For that we’ve periodically looked, asked, poked, and prodded—and we will continue to do so! Chris
  2. I haven't gotten any further with enquiries along this avenue yet, I'm sorry. It would also be a very, very long shot as we did turn every stone we could find at the time and carefully examine what was under each of them. Chris
  3. Ah, Jim Wynorski, yes OK, that makes sense. Yes, I've read your FSM article, Bruce. In fact, it's still on my desk. Chris
  4. Please do tell how this person can be contacted regarding this. These sorts of stories do seem to come out of the woodwork after a project is done and dusted. However, I’m sure it could be redone if true stereo elements surfaced for the complete score. The theatrical reissue and 5.1 remix just stereoized the mono and didn’t seem to drop in the few true stereo OST tracks that matched the film versions. So, that suggests they weren’t available at the time and certainly haven’t showed up since. Chris
  5. Does anyone have a link to the full video where this came from? I can't seem to find it anymore. Thanks!
  6. This was mentioned on page 26 and B1 of this: http://www.malonedigital.com/starwars.pdf
  7. Whilst I agree with most of NewRisingSun's suggestions, I think that the ultimate sounding versions of the Original Trilogy scores can be met by adopting the following simple points: 1.) Use the original film mixes – no extra reverb or trickery 2.) Involve Eric Tomlinson – he would no doubt appreciate being involved 3.) Let Steve Hoffman master – only the best will do 4.) Issue hybrid SACDs – LCR 3-track would be nice but 2-channel would also be quite acceptable I would then be confident that the end result would be an awesome treat for the ears, with point #3 being the salient one. Those who like dynamic range limiting and are scared of tape hiss can continue to listen to their dehissed, muffled sounding, slammed 1997 ROTJ Special Edition discs!
  8. Stefancos, you have repeatedly made negative comments about the ESB soundtrack recording without any substance or logic. Eric Tomlinson captured nuance, detail and intonation like no other engineer. He was admired for his ability to quickly obtain a balance and skilfully deliver a live mix during sessions. Musicians enjoyed his easy-going manner and work ethic that ensured that they were satisfied with the sound offered to them. To whine that Mr Tomlinson should "rot in hell" for the sound on the 1997 SE CDs says more about you than anything else. It suggests that you have no appreciation or knowledge of music recording and would prefer to remain ignorant of the real reason why that edition of the ESB score can be considered sonically inferior. The primary reason is that the 24-track backup tapes were remixed specifically for the SE CDs, extensively clouding spatial placement and cohesion. Secondly, these new mixes were then compressed and limited during mastering, compromising dynamic range. Eric Tomlinson was not involved with any part of this process and is very disappointed with the outcome. I suggest that should you want to point fingers, a quick perusal of the "multi-track transfers" and "mastering" credits of your SE CD set should do you well. In my mind, a proper issue of the ESB score would utilise the 6-channel film mixes and present them on SACD or DVD-A in a transfer overseen by Eric Tomlinson. Should these tapes not be available then a remix from the 24-track backup tapes would be suitable, again with the involvement of Mr. Tomlinson. Dynamics processing should be avoided completely. Steve Hoffman would be the mastering engineer of choice. Fundamentally, the 2-track material -- utilised for the STORY OF THE EMPIRE STRIKES BACK for example -- would sound fabulous too if mastered by Mr. Hoffman. I hope the above clarifies the situation with regard to the 1997 SE version of ESB. And should you wish to hear some Eric Tomlinson recordings presented properly on CD I vote for RAIDERS OF THE LOST ARK, NIGHT CROSSING and BRAINSTORM as starters. Regards Chris Malone http://www.users.on.net/~jennychris/starwars.htm Recording the Star Wars Saga
  9. The high pitch is most likely flyback from a TV monitor. TV peak is common in many recordings and can be used to determine where a recording was made. The frequencies are 15,734 Hz for NTSC and 15,625 Hz for PAL. I remove it when mastering material that is affected. It hurts the ears otherwise. CV
  10. Lyle Burbridge was the scoring mixer for ET, which was recorded at MGM in Culver City. Bruce Botnick took the live film mix off the desk to a 2-track digital recorder. The original CD was mastered by Steve Hoffman who worked with Bruce Botnick and used the digital tapes. The MCAD-31073 version I have has MCAD37264 on the inner ring of the CD despite the artwork and CD label using MCAD-31073 and the SPARS code of "AAD." Steve Hoffman has confirmed that the CD should be entirely DDD and that a peak limited analog copy was prepared directly from the digital CD master for cutting the LP. What does all this mean? If your MCAD-31073 disc has MCAD37264 on the inner ring underside of the CD it probably is also from the early 1980s digital master. Some of the 1996 edition cues seem to also come directly from this source and have been re-EQed. Bruce Botnick's digital tapes may have also been used for all the other cues as well but this is unconfirmed.
  11. Hello there Try this link, it should answer your questions: http://www.users.on.net/~jennychris/starwars.htm
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