phbart

@JTWfan77, you shouldn't delete/modify your posts just because a particular user snapped for no reason. I mean, really! If harmless discussions about CD cover arts are enough to cause a person to break like this, I guess this person should be looking for help immediatly.

@JTWfan77, you shouldn't delete/modify your posts just because a particular user snapped for no reason. I mean, really! If harmless discussions about CD cover arts are enough to cause a person to break like this, I guess this person should be looking for help immediatly.

I was gonna ask the same thing... 😂 

I mostly buy my CDs because of the artwork. Music is just an extra featture.
 
Who cares about the artwork... what the hell kind of a question is that???

This page made me realize "On the Conveyor Belt" is an underrated masterpiece and its absence from this new release is causing psychotic breaks on some people.

This page made me realize "On the Conveyor Belt" is an underrated masterpiece and its absence from this new release is causing psychotic breaks on some people.

This page made me realize "On the Conveyor Belt" is an underrated masterpiece and its absence from this new release is causing psychotic breaks on some people.

OST albums are similar to entry level electronics. They offer you a hint of what you could get with a more complete device.

Speculations are funnier than facts.

I want the original engineer's mix, the Eric Tomlinson mixes.
 
Yes, the document from Chris Malone website does mention that 3 track and 2 track tapes were available for the 1993 Anthology release. For the 1997 SE they went for the 3 track ones, and he believes that it sounds bad because the tapes weren't handled properly.
 
His words: "Almost immediately following release of the 2CD Special Edition to Return of the Jedi, the recording was criticised for possessing a soft and muffled sound. A three-track reduction of the original preedited Abbey Road tapes was used to prepare the set, which was beautifully assembled by Michael Matessino. Unfortunately, this is one of the few positive comments that can be made about the presentation. Disappointingly, the upper highs have been significantly attenuated. Signal above 10 KHz is virtually non-existent and most certainly rarely extends beyond 14 KHz. It would seem that no additional EQ, however radical, can cajole these frequencies satisfactorily. There is also an inconsistent application of EQ from disc one to disc two with the former generally brighter compared with the latter. The reason for the conspicuous absence of upper highs – and the hiss that should be present with analog recording – could be shared between poor alignment of the machine used to reproduce the source tapes and incorrect calibration of the requisite Dolby A decoder. More likely, the extensive use of digital noise reduction during mastering is the culprit. The noise reduction has vacuumed up the ambience of the original recording leaving a false, barren wasteland in its place. As a whole the music is congested and closed-in, lacking the aliveness of earlier releases."

Shawn Murphy is not a music editor, he's a recording engineer / scoring mixer.  I would definitely assume Ramiro Belgardt is the editor for all six of these, since he has been the music editor for every film Williams has done from ROTS forward and also edited the 20th anniversary edition of Jurassic Park.

I want the original engineer's mix, the Eric Tomlinson mixes.
 
Yes, the document from Chris Malone website does mention that 3 track and 2 track tapes were available for the 1993 Anthology release. For the 1997 SE they went for the 3 track ones, and he believes that it sounds bad because the tapes weren't handled properly.
 
His words: "Almost immediately following release of the 2CD Special Edition to Return of the Jedi, the recording was criticised for possessing a soft and muffled sound. A three-track reduction of the original preedited Abbey Road tapes was used to prepare the set, which was beautifully assembled by Michael Matessino. Unfortunately, this is one of the few positive comments that can be made about the presentation. Disappointingly, the upper highs have been significantly attenuated. Signal above 10 KHz is virtually non-existent and most certainly rarely extends beyond 14 KHz. It would seem that no additional EQ, however radical, can cajole these frequencies satisfactorily. There is also an inconsistent application of EQ from disc one to disc two with the former generally brighter compared with the latter. The reason for the conspicuous absence of upper highs – and the hiss that should be present with analog recording – could be shared between poor alignment of the machine used to reproduce the source tapes and incorrect calibration of the requisite Dolby A decoder. More likely, the extensive use of digital noise reduction during mastering is the culprit. The noise reduction has vacuumed up the ambience of the original recording leaving a false, barren wasteland in its place. As a whole the music is congested and closed-in, lacking the aliveness of earlier releases."

So we just have to wait until 2021 for Matessino's complete expansions then.

We know they're not just simply remastering the original OST master tapes though. If they were doing that there would be no reconstruction needed.
 
The scores have been re-scanned and then the OSTs have been reconstructed. There is absolutely no reason for Disney to go to that much effort (and expense) if their only intention is to just keep on pushing out the original albums.

Shawn Murphy & team did mention in the youtube reddit video that they had to dig out all the available sources to prepare for the Vinyl restoration which mean that he had access to the original album masters which are the John Neal mixes.
 
By the way better quality version of ROTJ tapes do exist and some important people do have access to them (for quite some time now). Cant say more

I still have a great sounding and fully functional Sony discman. That's were I mostly listen to music.

A higher sample rate can improve the sound quality by allowing a wider cutoff for the anti-aliasing filter, and it can somewhat decrease the noise. But I don't understand why anobody would need a sample rate as high as 384kHz at 32-bit.
 
Here's some good answers:
 
https://www.quora.com/What-impact-does-increasing-the-sample-rate-have-on-the-quality-of-audio&ved=2ahUKEwjN1J7GgIPaAhXDJ5oKHSe7D4YQjjgwAHoECAQQAQ&usg=AOvVaw0DwYZVhHqZVa1azORuJx1o

Because you write that 384kHz is "outside the range of what the human ear can hear", but it's not possible to reproduce sound frequencies of 384kHz by sampling at 384kHz.

Careful, Jay will bark at you demanding to know 'did you see a claim somewhere that there was someting "wrong" with it?'

@phbart is correct that a higher bit depth allows for a greater dynamic range.

Hello Folks! 
 
I asked Shawn Murphy about the transfers via his facebook page. This is what he responded with:
 
 

No.

I'll make illegal downloads first. If they sound as good as I hope, then I'll definitely buy them.

Aside from the sound quality of the original trilogy, I'm most curious about how a remaster "Duel of the Fates" will sound like.