Gollum Cat 24 Posted May 8, 2018 Share Posted May 8, 2018 5 hours ago, bollemanneke said: I can't believe that vinyl sold out. It's just weird. Am I really one of the only ones who hasn't set up their turntable again? I haven't even bought mine yet. I'm going to get a U-Turn Basic. 56 minutes ago, mstrox said: It's probably just out of stock. The press release didn't mention a super limited run. It was limited to numbered 5000. rpvee 1 Link to comment Share on other sites More sharing options...
mstrox 6,651 Posted May 8, 2018 Share Posted May 8, 2018 5000 is a huge run when it comes to CDs. I'd be very surprised if they've sold through 5000 copies on record. I could be surprised though - I think the whole reversion to vinyl is idiocy! A. A. Ron and bollemanneke 2 Link to comment Share on other sites More sharing options...
Gollum Cat 24 Posted May 8, 2018 Share Posted May 8, 2018 My copy was in the mid 3000s, and I ordered earlier in the pre-order period. rpvee 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted May 8, 2018 Share Posted May 8, 2018 1 hour ago, mstrox said: 5000 is a huge run when it comes to CDs. I'd be very surprised if they've sold through 5000 copies on record. I could be surprised though - I think the whole reversion to vinyl is idiocy! I understand the impulse to have a such cool, big piece of pop art for something you love (like LOTR), but the astronomical prices that vinyl reissues get these days completely negates it for me. Most vinyl comes with download codes and most soundtrack CDs I've bought in recent years I've never even listened to on CD, I just rip them immediately. So there's no real difference for me between buying them other than cost! Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted May 10, 2018 Share Posted May 10, 2018 I've got all three CRs, on 5.1 DVD-A. My question is: are the new 5.1 Blu Rays worth it? In overall sound, what, if any, is the improvement? bollemanneke 1 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 10, 2018 Author Share Posted May 10, 2018 The sound is the same. bollemanneke 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted May 10, 2018 Share Posted May 10, 2018 To tell you the truth, @Jay, I'm a little mystified by your answer. Don't get me wrong; I'm mystified with you, I'm mystified that there is no difference in sound quality. Is there no greater dynamic range, with the Blu discs, or extra "presence", maybe? A greater use of the rear speakers, perhaps? Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 10, 2018 Author Share Posted May 10, 2018 Richard, just scroll back a bit and read the thread you're posting in. It's the identical master they created in 2007, just pressed to a different medium. They didn't do any new work on the music. Naïve Old Fart 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted May 10, 2018 Share Posted May 10, 2018 Ah, yes, I've found it, now. Ta, awfully! It seems a bit of a waste, though, but at least I've saved myself £70 or so, by not double-dipping. Link to comment Share on other sites More sharing options...
rpvee 805 Posted May 11, 2018 Share Posted May 11, 2018 On 5/8/2018 at 10:15 AM, mstrox said: It's probably just out of stock. The press release didn't mention a super limited run. Either way, glad that I don't like records! They’re numbered, there were only 5,000. EDIT: Oops, didn’t notice there was a next page where someone already answered. Sorry! Link to comment Share on other sites More sharing options...
psycellium 0 Posted May 14, 2018 Share Posted May 14, 2018 On 22/04/2018 at 3:33 AM, Jay said: So the reissue is screwed up then? Will corrected discs be offered to those who purchased the faulty ones? What is this about the reissue being screwed up? I've read every page here and am still not getting it. Are you telling me I just spent £64.99 on something I've waited over a decade to own only for it to be faulty? Anything in layman's terms would be greatly appreciated. Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 14, 2018 Author Share Posted May 14, 2018 The problem is the version disc 3 of FOTR for sale on HDTracks is actually a 16bit/48khz source up-converted to 24bit/48khz instead of the proper 24bit/48khz it is supposed to be (the other 2 discs are proper 24bit/48khz like they are supposed to be). As of this post, the HDTracks page still lets us know it's messed up: "Tracks 29-37 are encoded 48kHz/24bit files, but were analyzed and confirmed as 48kHz/16bit." http://www.hdtracks.com/the-lord-of-the-rings-the-fellowship-of-the-ring-the-complete-recordings We haven't definitively proved that this mistake is also present on the BD, the vinyl, and/or the 7digital / other online high-def retailer versions or not yet. bollemanneke 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted May 14, 2018 Share Posted May 14, 2018 So for most laypeople there is no fault, right? Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 14, 2018 Author Share Posted May 14, 2018 Right! It SOUNDS completely fine. It just isn't 24bit / 48khz like it is supposed to be for 1/3 of the release, certainly on HDTracks and POSSIBLY also on the BD, the vinyl, and the 7digital version (or any other online store that sells high def downloads that carries this). Obviously the CD version is 16bit/44.1 throughout so is completely unaffected by this. Link to comment Share on other sites More sharing options...
psycellium 0 Posted May 14, 2018 Share Posted May 14, 2018 23 minutes ago, Jay said: Right! It SOUNDS completely fine. It just isn't 24bit / 48khz like it is supposed to be for 1/3 of the release, certainly on HDTracks and POSSIBLY also on the BD, the vinyl, and the 7digital version (or any other online store that sells high def downloads that carries this). Obviously the CD version is 16bit/44.1 throughout so is completely unaffected by this. OH okay. I'm getting it now. Thanks so much for replying. I played the blu-ray on my PS4 for the first time yesterday and it sounded fine to me (though I'm not sure I'd notice a difference) but since I'm definitely going to be using the CDs a lot more, I think I can live with whatever possible fault there is either way. I'd still be interested in hearing confirmation of the blu-ray disc having the same issue as the HD downloads or not, but I don't think I'd be able to figure it out myself. Thanks again. Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 14, 2018 Author Share Posted May 14, 2018 Very few people would have both the ears and the home audio equipment to able to hear the different between the original 24bit/48khz master and the 16bit/48khz downgrade they've sold us, yes. The problem is more the false advertising and the fact that it is surely an unintentional mistake, than anything to do with defects anyone can actually hear. bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Kühni 485 Posted June 23, 2018 Popular Post Share Posted June 23, 2018 Cleaning up my laptop, I found the following review of the OST, written by Intrada Head Hamster, Doug Fake, back in November 2001: Think Wagner. Think Orff. Think both of them together. Add contemporary harmonies, rhythms. Sprinkle in Shore. You're hitting the tip of an iceberg. No one's done a movie score quite like this before. Not in awhile, anyway. It's big, massive. It doesn't have one climax, it's got many of them. Huge peaks, dynamic moments of overwhelming power. And heart! It's not just big. Moments of subtlety, mystique merge with the mass. And when the gentle, pure sound of Enya enters at midpoint, it's not only moving, it's memorable. Still, it's a sense of grandeur, of overwhelming power that stays with you the longest. Shore writes in thick gestures. Wagner. Not just in terms of size. His harmonies are voiced in thick blocks. Octaves are reinforced through numerous instrumental families, everything feels weighted. It adds scale, mass that is seldom heard in movie music. Shore combines the London Philharmonic Orchestra, London Voices and the London Oratory School Schola. There's an assist from the New Zealand Symphony Orchestra. There are soloists. Engineering up the wazoo! Your floors will shake, your ears will ring. Wow! Architecturally, Shore does something fascinating. He opens with a combination of mystique and suspense. He begins to add darker material. Then he explodes in mass. Yet, his centerpiece, his primary building block if you will, is a bold fanfare-like idea in broad, major sonorities. Amidst an almost oppressive mood of power, of despair, Shore anchors his musical structure around a solitary bright motif. It's striking, certainly effective. Adding to his massive scale, Shore actually creates a main theme and several smaller ideas as well but remains restrained in their use. It's the fanfare theme that binds Shores disparate elements. Leonard Rosenman tackled an animated version of the famous J.R.R. Tolkien fantasy at the close of the seventies. In fairness, his music had to meld an awkward animation technique with an incomplete story. Tolkien's trilogy was reduced by Ralph Bakshi to roughly one and a half parts, with an unsatisfying finish. Even with the truncated material, Rosenman created a grand, epic work with spectacular moments. While producing the initial CD version of the score I enjoyed hearing Rosenman's anecdotes about efforts to put creative, even outlandish material into his music only to have Bakshi back away from it. For the live action version, Peter Jackson has bigger ambitions. The entire trilogy, to be sure. He's off to a spectacular start, music-wise. Letting Shore work on a massive, operatic scale suits Tolkien. It's a big tale, a massive adventure. Middle Earth, Hobbits, Elves, Dwarves, monsters and men, sorcery and sacrifice, friendship and love. And the ring. Shore plays his cards slowly. It all begins in minor. "The Prophecy". Quiet strings, choir. Brass sneak in, crescendo, everything grows. Solo trumpet brings things to a close, a tune emerging. "Concerning Hobbits" takes the tune, moves forward. Shore also begins to fiddle with his main idea, suggesting the second part of it. It's a distant relative, something to be unraveled later. For now the Hobbit tune dominates. "The Shadow Of The Past" lets Shore tip his cards a bit. As the music intensifies, explodes, Shore adds an important idea with his chorus. Dense, symmetrical rhythms, a mood of darkness. "The Treason Of Isengard" briefly introduces his main theme, then becomes the critical point where Shore quotes his primary building block. Interestingly, the fanfare theme plays once in it's proper guise, major chords and all. Then, as quickly as it unfolds, it sheds the appearance, becomes a dark, aggressive line for French horn. "The Black Rider" and "At The Sign Of The Prancing Pony" combine energetic material with the symmetrical, oppressive sound of the chorus. "A Knife In The Dark" explores it further, affording the dark material moments both subtle and intense. "Flight To The Ford" spans an array of ideas from somber to powerful. The oppressive choral idea, followed by a virtuoso display of French horn, highlights. "Many Meetings" finally introduces strong major harmonies to the fabric. The main theme is allowed time to emerge, develop on solo clarinet. Strings take it from there. "The Council Of Elrond". The top of Shore's wide arch. First heard is Enya, a Celtic sound effective in movies as diverse as TITANIC, LAST OF THE MOHICANS, BRAVEHEART. It's the haunting theme for Aragorn and Arwen. This gives way - at last - to a major ringing of Shore's fanfare idea. Building through the orchestra, blocks of sturdy harmony, the piece climaxes in bright, major colors. Having built the upward side of his work, Shore comes down the other side. All of his ideas, now familiar, get their say. The fanfare highlights "The Ring Goes South". Intense action closes "A Journey In The Dark". A particularly exciting variant of the fanfare opens "The Bridge Of Khazad Dum". Intense material follows, then chorus, propulsive rhythms, action. "Lothlorien" becomes mystical, later solemn. "The Great River" uses chorus, but now in serene, majestic fashion. The fanfare theme is heard. "Amon Hen" begins with mystique, grows powerful, becomes the stunning highlight of Shore's intense side. Mournful ideas follow. It's serious music, a set piece of the entire work. The fanfare idea brings it to a close. "The Breaking Of The Fellowship" and "May It Be" play as one nearly twelve-minute finale. Emotional, rich music. Major themes are summoned, minus the darkness, without oppression. The fanfare theme gets particularly moving treatment. Celtic flavor returns, Enya returns. Enya's melody jockeys with Shore's fanfare, both seek equal time. Enya's haunting theme takes over, becomes one of the most moving lines in recent memory. However, finishing this massive structure with perfectly-shaped final bricks, Shore's main theme gets one last quote, then gives way to a resounding statement of the ever-important, foundation-laying fanfare. Interestingly, Shore climaxes his entire score emphasizing an open-spaced fifth. Your ear fills this in, naturally, as major. But you have to do some of the work. You get to think about it. What results is an incredibly strong finish, appropriate to such a massive, thought-provoking work. Just how massive? Reprise, in a spectacular move worthy of the subject, has issued the album in not one, not two, not even three or four, nor five or six, but in seven - yes seven!! - editions. Musical contents are identical. But six completely different covers highlight the standard jewel box editions, a red leather-bound package compliments a seventh, limited collector's version. Collect 'em all! Dixon Hill, Chen G., Barnald and 1 other 2 2 Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted June 23, 2018 Share Posted June 23, 2018 Too bad Shore is a bad orchestrator though amirite? Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted June 23, 2018 Share Posted June 23, 2018 I wouldn't know about his orchestrational skills, but I would say that the proof is in the puddin', as it were. A lot (and I mean A LOT) has been said about the thematic material of the Middle Earth scores, but just as important is the thematic use of color and timbre. Each thematic family is associated not just with certain instruments from outside the orchestral palette (everything from tin whistle to gamelan), but also with certain timbres within the orchestra and orchestral arrangements. These colors can be used, in and of themselves, to suggest the thematic material without actually quoting it. Even if we take just the brass section, when its shrill trumpets at the top of their voice, you know you're listening to Goblin material. When its growling in the low register of the horns and trombones, you know its orc material. When stopped and muted brass feature prominently, you know you're hearing Mordor material. When its rich and teneberous, you know you're listening to Dwarvish material, etcetra. And this is transformed across every section of the orchestra and all the choirs. So, yeah, I would say the orchestrations are great, because they serve a narrative function, and do so very well. 3 hours ago, Kühni said: First heard is Enya, a Celtic sound effective in movies as diverse as TITANIC, LAST OF THE MOHICANS, BRAVEHEART. I thought about this recently, and I think The Lord of the Rings scores owe a great debt to those scores for bringing celtic music to the forefront of film music just as The Lord of the Rings was being made. I have no doubt that Shore would have gone the celtic route for the Hobbits anyway, but that it resonated with audiences as much as it did, really feeds into how fashionable celtic music became in film scores at the time. Link to comment Share on other sites More sharing options...
Dixon Hill 4,234 Posted June 23, 2018 Share Posted June 23, 2018 You must have a short memory mate. I think he's got a fine touch with the orchestra, and that was sarcasm based on some past arguments about the subject. Link to comment Share on other sites More sharing options...
Kühni 485 Posted June 23, 2018 Share Posted June 23, 2018 . bollemanneke 1 Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted June 24, 2018 Share Posted June 24, 2018 But hey if such misunderstanding brings about an appreciative post on Shore's orchestrational skills, no harm done. Chen G. and bollemanneke 2 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted June 24, 2018 Share Posted June 24, 2018 Verily! Link to comment Share on other sites More sharing options...
Bilbo 3,709 Posted June 24, 2018 Share Posted June 24, 2018 13 hours ago, TGP said: You must have a short memory mate. I think he's got a fine touch with the orchestra, and that was sarcasm based on some past arguments about the subject. Chen taking everything seriously and incapable of noticing humour? Well I never! Chen G. 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted June 24, 2018 Share Posted June 24, 2018 He doesnt understand blarney! Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted June 24, 2018 Share Posted June 24, 2018 2 hours ago, Bilbo said: Chen taking everything seriously and incapable of noticing humour? Well I never! Is it time to draw out the "I'm the only one with a none-Indo-European native language who's writing here" excuse?😉 bollemanneke 1 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted June 24, 2018 Share Posted June 24, 2018 You would be very wrong about that. And not only because that "e" does not belong at the end of that "none" Hungarian is a very alien language in Middle-Europe, and not indo-european at all. It only has two direct relatives spoken by about 3 firewood-collecting great-grandmas in the Urals. By now it's diluted with a lot of Turkish and German words as a result of coexisting or being occupied by both of them for centuries, and has gone through a major revision campaign in the 1800s, but we can still understand the earliest remaining texts (a sentence form ~1050, a funeral speech from ~1100 and a poem from the 1200s) with only a minor vocabulary explanation, and with the acceptance that the insane agglutination* only came into the language gradually. *See: elkelkáposztásítottalanítottátok (popular example which mages no sense) and megszentségteleníthetetlenségeskedéseitekért (not a commonly used word, but there could theoretically be uses for it). Link to comment Share on other sites More sharing options...
Kühni 485 Posted June 24, 2018 Share Posted June 24, 2018 . Holko 1 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted June 24, 2018 Share Posted June 24, 2018 Szomorú is sad (fitting to be the one word to know), német means german, it's a pretty common surname (there were many Germans living here) and most people kept Németh in their surnames as the old spelling. Link to comment Share on other sites More sharing options...
Kühni 485 Posted June 24, 2018 Share Posted June 24, 2018 . Link to comment Share on other sites More sharing options...
Holko 9,526 Posted June 24, 2018 Share Posted June 24, 2018 It's a nice city, but best in late summer when there's a big festival celebrating its Roman heritage. Link to comment Share on other sites More sharing options...
cmh90790 16 Posted July 28, 2018 Share Posted July 28, 2018 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted July 28, 2018 Share Posted July 28, 2018 A very good question. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted July 28, 2018 Share Posted July 28, 2018 They will obviously be presented as one long piece of music. There's no indexing on vinyl. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted July 28, 2018 Share Posted July 28, 2018 No, the examples he listed are crossfaded on the CD but are on different sides of the vinyls. Link to comment Share on other sites More sharing options...
Jay 37,364 Posted July 28, 2018 Author Share Posted July 28, 2018 They either faked clean endings, or went back to the elements and got real clean endings. Interesting question! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted July 29, 2018 Share Posted July 29, 2018 Indeed. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted July 29, 2018 Share Posted July 29, 2018 Faking them's not that hard, I have separated some cues more properly for my phone lostening version, but it would be a weird thing to do for an official release. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted July 29, 2018 Share Posted July 29, 2018 Well that's what happens when you have a medium that you have to flip over. It's why LP programs are generally different than CD ones and releasing a CD program on LP can cause issues. Link to comment Share on other sites More sharing options...
Nick1Ø66 4,718 Posted July 29, 2018 Share Posted July 29, 2018 While vinyl definitely has its place, I frankly don’t see the point in LP releases for recordings such as this (beyond their collectibility). A. A. Ron and Chen G. 2 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted July 30, 2018 Share Posted July 30, 2018 Why not? Link to comment Share on other sites More sharing options...
bollemanneke 3,348 Posted May 22, 2022 Share Posted May 22, 2022 I'm watching the EE. There's a strange drop in the right channel volume of the cue when they enter Moria (a few seconds after 'it's that way'). Anyone notice this? Link to comment Share on other sites More sharing options...
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