Roger

Try this track: https://www.dropbox.com/s/c32nehyfhc5bqyw/02.wav?dl=0

Right. The entity that controls the publishing as he refers to it is completely separate from studio or the record label. The big ones are Sony/ATV and Warner Chappell.

In spirit you're right but I think you're confusing two separate things -- one is the mechanical license which is in regards to the publishing of the actual compositions, the second is the master use license, which deals with the recording itself. One is sheet music for all intents and purposes and the other is tape. So many of these albums involve two parties that have an interest in the recordings. In this case Hollywood records controls the master use rights to all the previously released tracks and Disney owns the master use rights to all previously unreleased. But as you point out, they are the same entity. Regardless if the album was originally released by Hollywood or Sony, the mechanicals would still be controlled by a single entity. Those do not go with the master use license.

All labels make errors that get through. Lalaland most recently on Karate Kid II, BSX with T-Rex...Quartet with the channels reversed on Awakening...I think you underestimate the complexity of what it takes to get these projects out. Again, I would still trust all these labels to produce great albums as well as make fixes when something pops up. It's all good. So again, bashing one producer is extreme and I think unreasonable.

Yes the only way around this would be to rerecord the cues. The recording is the recording. I'm a little confused because you say it sounds the same as the boot, but above Holko says it sounds worse. I'm not following you. The required edit wasn't documented but was fixed anyway and sounds fine. So what is the issue?

I would need to check these to see what is up. Remember the mixes on the Decca album and the complete sessions were quite different so mixing and matching might be jarring. But largely, I haven't heard of any issues with Land Before Time, Psycho III, Last Castle, Species II so it seems like Mummy might be a corner case so not sure why you'd throw Doug under the bus for everything. Which is odd, these were the mixes Silvestri provided - so no remixing was done -- but I will check as I don't recall it sounding mono, which is what your note seems to imply.

Can you summarize the high level? I remember there were complaints about Bruce Botnik's mix on The Mummy, but that didn't have much to do with Doug. He would have likely mixed it regardless of label that released it.

What about those productions don't you like?

Why is that?

I advise caution with being an arm chair mastering engineer, especially if you weren't in the mastering session. Boosting and limiting was not part of the process on this release. I'm not sure what you're trying to gain here. As most have noted, everything sounds perfectly fine. If you yourself admit everything sounds fine and you're just guessing at the process, is this merely an academic discussion with no practical value? Not sure what the purpose is here. Although it looks like one person decided not to purchase it based on your comments. There are no stand alone 6-track music only mixes at this point.

That mix doesn't exist on the 2-track mixes. For whatever reason that was created for the 6-track film mix from the 48-track session masters. In order to come close to approximating that in a 2-track mix would require going back to the 48 track sessions and attempt to get that sound, but with that many variables, it would be very difficult and someone would complain it sounds "off." And I didn't mention that these 48-track sessions have no track sheets, so it's flying blind because what's on each track is not documented. It could takes weeks of time and money for what amounts to how many seconds or minutes of bonus material? Just not practical or economical I'm afraid to say. We'll have a spindle for those that want a replacement. Outside of a few comments here, after having nearly sold out the first run, very few have noticed or cared about the difference, interestingly. But we're adjusting it anyway!

There's no clipping on this release. You can't really expect precision from a consumer level, free product like Audacity...at least not compared to professional grade tools like ProTools. As is evident to the people who say they can't hear any clipping -- that's because there isn't. You can't believe your eyes! On the horn issue, it appears that Horner did chose an insert from an earlier take that was never documented. Since this is obviously what Horner preferred and what folks are saying they prefer, we have no issue making the change. Stay tuned.