phbart

Agreed. But I kind of missed the tech details, like Mike included on Towering Inferno, as Poseidon here sounds significantly better than the 2010 release (and all past releases). Was it a new source material that was found? I hope he can elucidate it some day.

https://johndadlez.com/MP3/JohnWilliamsDisasterCollection/TheToweringInferno/1_24_THE.mp3 Did I hear a "Han Solo and the Princess" at around 0:08?

That's right, I think it was from there. I loved those interviews here. In here, it seems that more direct questions were asked, and his answers were more detailed also. Podcasts are too long and filled with generic questions, and the details we want to know about a specific release are buried somewhere in the hours long audio. But anyway, I think it's important that fresh digital transfers of tapes are made for a new release, if they are in proper conditions. From the Decca release to the Intrada one it's 15 years apart. I believe there weren't many advances in analog tape machines that allow for a significant better transfer, but DACs certainly are way more advanced. It kinds of bothers me little when I read that a previous digital transfer was used for a release, like the 2008 FSM Superman (where a transfer from 2000 was used) and the 2016 LLL Jurassic Park (that used the 2013 transfers). I prefer when it's 100% MM supervised, from the transfer to the mastering... but that's probably my OCD speaking.

I could swear I read somewhere that they made a new digital transfer of the tapes for the Intrada release instead of using the raw transfers made in 2000.

Nice to know about this. Curious to know how MM worked with the damaged tracks from the bonus section of the FSM release. And what about Poseidon? Did he gave any details in advance as to how they sound compared to the 2010 LLL release?

I was too! It was indeed very touching.

One gigantic set, many years from now, when Disney will finally have bought everything there is to buy in the entertainment business.

Nice! I hope Poseidon will sound better than the 2010 release. Even if it's mostly in stereo, the 1995 mono bootleg sounds better to me.

Exactly my thought. Of all the re-runs of a JW scored film a saw in a theater, I can't remember when (or if) I watched those at home again. In a 5 years period I saw E.T., CE3K, Jaws, JP, Private Ryan, Empire of the Sun, Superman and now Raiders. Except for JP, Sun and Ryan, I don't remember watching or wanting to watch any of the others at home since.

I caught a screening of Raiders of the Lost Ark early this afternoon. I had such a great time, it was such a wonderful experience. JW score sounded the best I've ever heard, so powerful. It nearly blew me out of my seat. I never imagined it could have sounded that good. It was an early afternoon screening, so the theater was quite empty (thank God!). I filmed the Map Room sequence to keep a "souvenir" of the experience. I wasn't expecting much, but when I watched just now I was amazed at how good the phone captured the ambience of being in the theater (it's a Galaxy S10, btw). Well... just check it for yourselves. And share your experience too.

Yes. It's puzzling how JW come up with those ideas. However, in the case of "Visions of Anne Lively" it worked well, as I prefer it over "Another Vision". I think he also did it with Raiders 1981 OST with "Well of the Souls", when at some point it cuts to a portion of "In the Idol's Temple" then goes back to the ending of "Well of the Souls". But in that case it didn't worked at all! One more to the "JW's worst OST decisions".

I always loved "Visions of Anne Lively" from the OST ("Another Vision" in the LLL release). I noticed that a portion of "Visions of Anne Lively" is different from "Another Vision", at around 1:17 of both. Assuming the latter is the correct film version, was the "different" portion of Anne Lively made specifically for the OST or simply tracked from elsewhere?

Here...

The LLL Friday the 13th set released in early 2012 sold out in less than 24 hours.