Amer

I found the animation impressive but the film had that vibe to it which THE LAND BEFORE TIME had already been done earlier and I was and still am in love with both the film and score

No. One of them I've known for real. Even before AI.

Okay Roger Feigelson just clarified everything on Facebook: Intrada Soundtrack Club page. (cannot copy the link) Feigelson: " I guess the bottom line is if you don't like the sound, you don't like the sound and regardless of the explanation, you still won't like it. If you want to get into the weeds. The Raptors cue and the end title in the film used take 46. However when putting this album together, it was apparent take 44 was going for a different sound and was recorded on the 24-track exactly as you hear it in the three album version end titles. Given its difference, rather than simply repeating take 46 in the end title we opted to use the take 44 alternate to give yet another previously unreleased and different read of the material. Just so you know the complexity of putting these together, there were over 100 performance edits. Regarding the short cue that we didn't include, we had the sessions that Newton Howard had in his library as well as the Disney vaulted sessions, including a separate pick up session for later changes to the score. This piece was no where on any of that or listed on the cue sheet. Frankly it sounds like a synth demo. I have reached out to James to see if he has any recollection. So there you are. The end title was a creative decision, not a mistake. And I get it some don't like the sound and would have made different decisions." This came up on On Dangerous Ground as well and Mike Ross went through it with a fine-toothed comb and could not find any of this phasing. Similarly Chris Malone went through the end credits and didn't find any "phasing." In any event, we put our trust in Mike and Chris. I hear how it sounds very different, but don't hear phasing. Not possible when the source is a sync-pulsed multi-track element. The whole reel would have been out of sync/phase, not just the one track.

Thanks! This is an interesting review and analysis. Its always important to understand what kind of headphone works best for orchestral film music the ones we usually prefer from an end user point of view. (Of course personal preference vary across the folks) While I do prefer some good base but it should be balanced with the treble which brings out the clarity during high dissonant passages. So, your advice is well noted. Anyone else want to chip in this discussion?

Yes. But cant say that these are cheap. But he confirmed it the recent SUGARLAND EXPRESS podcast.

I have a high end 8.2 set up and while I'am a speaker person I haven't really upgraded ever since my BOSE headphones died. So thinking of Upgrading to a SONY soon. how about the Mike Matessino endorsed SONY MDR7506 Professional set? I think these would work well with my DENON AVR/ & OPPO 205 playbackset?

Way back when me and my siblings were kids; we could pick up this zero whine of TV being switched on in the TV room downstairs. And we would all make a bee dive to the room and puzzle my dad as to how did we know. hehehh.

I was just dreading they would do the Schindlers List annecdote "No But ..They are all Dead" in the Trailer..

Oh sad to know. I collected many of the articles from the 1990's. I hope he is referred to in the MUSIC by John Williams documentary!

I still havent heard it even though the cd is with me. So is the FYC containing any or minute unreleased material or is it the sequencing you are refering to?

Well something must have come up suddenly..

Ah you beat me to it. Let the Speculations begin!!

Well its always the legal mumbo jumbo that holds up the things at the last minute long after the main work is done and readied. Once all the final approvals are in place; then comes the manufacturing timeline.

If its the hybrid SACD with it. I'll take it.

I missed that on SACD.