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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
  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 k
  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
  11. Hello there Try this link, it should answer your questions: http://www.users.on.net/~jennychris/starwars.htm
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