Bernard Herrmann's THE MAN WHO KNEW TOO MUCH & ON DANGEROUS GROUND - Intrada Records 2022 Kickstarter

[Omen II 1,235]

2 hours ago, Romão said:

Did anyone else that was an early backer from Europe have to pay customs on this?

 

I didn't pay any customs on my CD (to England).

[Romão 2,274]

On 11/05/2023 at 6:13 PM, Marian Schedenig said:

 

Seven-something euros. I didn't expect this to be exempt from customs, so I wasn't surprised.

 

I ended up paying 9 €. Less than I feared, actually, but the whole endeavor ended up a bit pricey. Still happy I contributed somewhat to its fruition

[Slitherjump 6]

Following up on a previous conversation, I took the phase issue complaint to their forum, and they said that the team doesn't hear any issues and the vibrato is part of the performance 

 

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=9055

[Holko 9,526]

They love being in denial.

[thx99 1,740]

Jumping in a bit late on this but I think the primary issue isn't a phase differential, but rather, both channels of "Solitude" and "Nocturne" (and "Hunt Scherzo" and other cues as well) have a "comb filtering" effect which is causing the aural artifacts.  Comb filtering is the application of notch filters at a fundamental frequency and its harmonics (e.g., 60 Hz fundamental and 120 Hz, 180 Hz, 240 Hz, and so on), like teeth of a comb, which causes a periodic peak/trough shape (pseudo-sinusoidal) to the overall spectrum that colors the sound.  There could be other reasons beyond the manual application of a filter for the effect to occur.  (I've commented previously about the same issue marring the Intrada CD release of Robert Folk's In the Army Now score.)

 

The "white horizontal lines" mentioned by @Chewy in his post above, with the spectrogram graphic, represent the troughs caused by the comb filtering effect.

 

To visualize the effect differently, here are the left and right channel spectra for "Solitude", "Nocturne", and "Hunt Scherzo"...

 

Spoiler

 

 

 

[Jurassic Shark 12,077]

8 minutes ago, thx99 said:

Jumping in a bit late on this but I think the primary issue isn't a phase differential, but rather, both channels of "Solitude" and "Nocturne" (and "Hunt Scherzo" and other cues as well) have a "comb filtering" effect which is causing the aural artifacts.  Comb filtering is the application of notch filters at a fundamental frequency and its harmonics (e.g., 60 Hz fundamental and 120 Hz, 180 Hz, 240 Hz, and so on), like teeth of a comb, which causes a periodic peak/trough shape (pseudo-sinusoidal) to the overall spectrum that colors the sound.  There could be other reasons beyond the manual application of a filter for the effect to occur.  (I've commented previously about the same issue marring the Intrada CD release of Robert Folk's In the Army Now score.)

 

The "white horizontal lines" mentioned by @Chewy in his post above, with the spectrogram graphic, represent the troughs caused by the comb filtering effect.

 

To visualize the effect differently, here are the left and right channel spectra for "Solitude", "Nocturne", and "Hunt Scherzo"...

 

  Reveal hidden contents

 

 

 

 

Thanks for the additional info. Why would a comb filter be used here? 

 

Btw, Trope noticed something similar on the Apollo 13 release, in case you've listened to that.

 

On 07/12/2022 at 8:10 AM, Trope said:

Has there been any discussion about the opening 45 seconds of "Into the L.E.M. (Film Version)" and why that section sounds like there is some strange phasing/microphone overlap going on? I didn't notice it until I listened with headphones and compared it to the regular album version of the same cue.

[thx99 1,740]

18 minutes ago, Jurassic Shark said:

Thanks for the additional info. Why would a comb filter be used here?

 

I mentioned that there could be other reasons for the effect to be present beyond a manual application of a filter.  Perhaps some other processing or different mic placement for an overlay or a separate session could introduce the effect when mixing.  As indicated in this YouTube video, mixing a signal with a delayed version of itself can also introduce the effect.

 

In general, the primary application for comb filters is when there is electrical network frequency (ENF) or hum induced into the recording.  In the US, that means 60 Hz and harmonics; in the UK, 50 Hz and harmonics.  The more aggressive the notching is and/or the more harmonics you're attacking, the more artificial sounding the result will be.

 

Going back to the YouTube video above, the white noise chapter provides a decent aural demonstration of the effect:

 

 

 

18 minutes ago, Jurassic Shark said:

Btw, Trope noticed something similar on the Apollo 13 release, in case you've listened to that.

 

I'll have to check it out.

[Jim Ware 526]

Deviating to Apollo 13 for a second...

On 07/12/2022 at 7:10 AM, Trope said:

Has there been any discussion about the opening 45 seconds of "Into the L.E.M. (Film Version)" and why that section sounds like there is some strange phasing/microphone overlap going on? I didn't notice it until I listened with headphones and compared it to the regular album version of the same cue.

I've not done a technical deep-dive, but this just sounds like a ragged performance to me - the strings are not together. I can see why Horner chose a different take for the album!