Holko

And Order 66

Same here, I liked it in the cinema but loved it this second time now that I knew what it was doing/"where it was going", the intercutting works beautifully, all the pieces strengthening each other.

I finally started preparing for making an edit from the episode albums plus the OST... and then stopped a couple episodes in. There would definitely be fat to trim, but there's also just way too much good and great stuff to keep, the edit would be at least 4-6 hours long, which I'd never listen to in one sitting. Also, the score is written to be very episodic, would get repetitive mushed together and wouldn't have that much of a satisfying arc for all the threads, and I came to the conclusion that it just works perfectly if I instead dedicate a week to listen to an episode a day, check in daily to get a big threatening Sauron ostinato and planted Galadriels, some mystery, some tension, some action material, get to see how the Khazad-Dum/Númenor/Harfoot (pick 2) -related themes are doing this episode, be reminded of the blandest theme (Bronwin/Arondir), then wrap up nicely at the end. Or the other solution would be to edit it down very severely to the highest of highlights... which has also already been done with the OST. It's really really nice to have the option for both officially and immediately. Thank fuck for Bear!

Also he's the radio guy calling the Orca.

ah

*37

Those two guys and the background are just a big mess.

Then wouldn't it be more professional to say that? And I will never believe that anything can't sound any better until Mike and/or Chris say so.

And so now for a reissue, they... still didn't use them, or at least don't indicate it.

Yeah I looked into it and this seems to be just a straight reissue of a 2018 release I didn't know about where most of it still sounds like ass. I can't believe these people have the audacity to say they fixed stereo field issues when the voice and orchestra are all wandering around the middle left right in the first goddamn track. Those "expectations" must be pretty low. Would 3 hours have been enough to record the entire score? What was the methodology in those days? Maybe those are just the harmonica sessions. But I guess I'm thinking of the scores we know where every final take assembly has an hour of rehearsals/takes behind it, whereas here many of these "cues" are just those different takes/variations of the same music?

http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDX1033&uscita=prox 55 years ago, the fourth Western movie directed by Sergio Leone, C’ERA UNA VOLTA IL WEST, was screened for the first time, and in the plans of the director, should have closed the circle of his engagement with this cinematic genre. Compared to the Dollars Trilogy, the movie marks an important stylistic change; it’s an epic full of allegories, with an immensely powerful script. Considered by many to be Ennio Morricone’s masterpiece, it marks an evolution in his music, which often takes over for the images. Exceptional collaborators such as Edda Dell’Orso, Alessandro Alessandroni and Franco De Gemini are the main actors of this score, the director of which is the Maestro. It is to one of them, Franco De Gemini, whom Beat Records in collaboration with Universal Music Publishing wish to dedicate this 50th anniversary edition, in a guise you’ve never experienced before. An accurate remastering by Claudio Fuiano and Daniel Winkler corrected a few formal imprecisions of the wonderful previous editions as well as some minor stereophonic flaws, and now we can finally say we have an album that meets our expectations for such a milestone edition of this score, even correcting some small flaws of the previous edition. But the surprises don’t stop there. Five years after the death of the popular Ferraran harmonica player, the entire recording sessions of the score were discovered, over three hours long, including studio chatter from which we extracted a small recording of Franco’s voice while he is conducting sound tests to find the best sound for his harmonica in a particular scene. We present this gift to you at the end of the album as a memorial to this great harmonica artisan, a sonic cameo as a little witness to his industriousness. The CD comes in a jewel case with a richly-illustrated, 24-page booklet featuring liner notes by Daniele De Gemini, along with 4 collector’s plasticized cards, all gathered in a hard box external case. Limited to only 500 copies, it’s a meeting with cinema and music history that can’t be missed. AAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHH EDIT: nevermind, not interesting, just annoying

That's why you tell them to go to hell and order from EU stores like MusicBox and Intermezzomedia. It would be on its way from them too.

Oh I don't have any real problem with seeking composer approval, only with the composer interfering with a proper release IF that is what happened

In which case fuck the composer, they've had the OST

Oh yeah I'm trying some tracks in the streaming version and some tracks are definitely faded down way too early and quickly @Tom Guernsey, it's not you or Presto

Any specific tracks where it's the most noticeable?

Just because some of you guys over there decided to be absolute idiots, nothing to do with us!

Cool, even more of a fuck you to us!

Went through most of the rerecordings I've bought physically that I haven't listened to in a while: King Kong, Adventures of Robin Hood, Sea Hawk, Thief of Bagdad, Treasure of the Sierra Madre, North by Northwest, Ben-Hur, Lawrence of Arabia, Taras Bulba, Fall of the Roman Empire, 7th Voyage of Sinbad, Private Life of Sherlock Holmes, Born Free, Raise the Titanic, and of course Conan the Barbarian. Some were exhausting (Sea Hawk can be a bit much, and goddammit Dimitri, you know you are allowed to take musical breaks, right?), some lovely to get to know (don't really know Born Free that well so always nice to "rediscover" that there's more to it than the theme), some just plain old fun, and Ben-Hur is of course just perfect in every way. Reading the booklet and listening, the level of commitment to the restoration on Taras Bulba and especially Thief of Bagdad always astonishes me. But I'm just overall insanely happy with and grateful for all of these, and everyone who worked hard to free these wonderful scores from their not great or downright awful sounding or even nonexistent original forms.

Adding "they don't even know which month it is" to my list...

What mostly helps is that here there's no alternate, no?

The album version was recorded as one take and the film version just as an insert. So you have to include the full take for the album version, or just dial it out after the different portion which is just no

Why are only LLL and Quartet able to hire artists who can make these expensive releases not look like 20 year old low effort digital bootleg uploads?

Yeah I was planning to place an order today with this plus some items, then place a second one later with the JW intrada and some others. But fuck this, I ordered the others now and I'll get HTTYD3 with the JW intrada, whenever that arrives.

And? Isn't there more than enough space for it on the discs? And yeah it's how every normal producer does it