Jerry Goldsmith's HOLLOW MAN (2000) - NEW! 2022 Intrada

[thestat 348]

Well, must have been something to push Verhoeven out of Hollywood. Hopefully we get a documentary about his actions one day. He, to me, is one of the greatest of directors, and the work he did from 1987 to 1997 is the best decade for film (yes, even Showgirls). And the scores he got out of Poledouris and Goldsmith are astonishing all round. Yes, this one is strange - it is and feels like work for hire, and Jerry's stuff is still amazing! 

[Yavar Moradi 2,599]

On 6/10/2022 at 10:46 AM, publicist said:

 

Phrased in such a broad way, probably not. But as i said initially, going by what happened to JG on a personal basis at exactly this time coupled with the hefty amount of writing on this particular movie struck me as kind of...sad.

For me the sad part is that Jerry apparently put so much work into this, that it’s the first time half a century when he only did one score in a year.

 

Yavar

[crocodile 8,012]

Roger confirmed this is coming out on the 25th of October.

 

Karol

[Jay 37,361]

 

[Jay 37,361]

Roger says

 

"

INTRADA Announces:



HOLLOW MAN
Composed and Conducted by JERRY GOLDSMITH
INTRADA ISC 483


Intrada's latest Jerry Goldsmith expansion features what is perhaps one of his longest scores – the Columbia Pictures sci-fi thriller Hollow Man (2000). Directed by Paul Verhoven, this would be their second sci-fi collaboration after the powerhouse sci-fi action score for Total Recall (1990). The 91+ minute score starts with a deceptively subdued misterioso main title that only hints at the events to follow, like any good overture. While the score is a meld of large orchestra and synthesizers, the orchestra is at the forefront during the numerous action and suspense set pieces. A highlight of the score is the music that accompanies attempts to turn invisible or return from invisibility, featuring harp, piano, strings and brass that builds up through the transformation, hearkening back to his mysterious space V'ger music of Star Trek: The Motion Picture.

While the original album released at the time of the film featured a generous 52 minutes, the complete score plus alternates clocks in at 153 minutes. Bruce Botnick, who helmed the scoring sessions at Abbey Road Studios, provided Intrada with his final stereo mixes in high resolution for a detailed clarity in the final mastering that adds new depth to this epic work. Included for the first time is one of the most often requested tracks from the score, "Chasing Isabelle," just scratching the surface of the wealth of unreleased material here.

In the film, Kevin Bacon stars as Sebastian Caine, a scientist who develops an invisibility formula and arrogantly tests it on himself, only to find himself losing his mind—and falling prey to his worst impulses—when he and his team of researchers can’t restore him to visibility. His worst impulses turn into a murderous rampage as his colleagues try to escape their invisible foe while trapped in a subterranean lab.

Intrada Special Collection Vol. 483
Retail Price: $30.99
Barcode: 720258548306
Shipping Now
For track listing and sound samples, please visit https://store.intrada.com/s.nl/it.A/id.12663/.f

"

 

Doug says

 

"

Jerry Goldsmith
Label: Intrada Special Collection Volume ISC 483
Film Date: 2000
Album Date: 2022
Time: 139:06
Tracks: 45
Price: $30.99

 

World premiere complete 2-CD release of thrilling Jerry Goldsmith sci-fi score! Paul Verhoeven directs aggressive experiment-goes-awry thriller, Andrew W. Marlowe scripts, Elisabeth Shue, Kevin Bacon, Josh Brolin, Kim Dickens head cast, Columbia Pictures presents. Molecular experiment allowing laboratory ape to become invisible is successful. Tight-knit group of responsible scientists celebrates, then when human subject undergoes treatment, all goes dramatically awry. Gifted (or cursed) with extraordinary power, Sebastian (Bacon) turns to evil, allows jealousy and murderous instincts to flourish while undetectable. Former girlfriend (Shue) and competitive researcher (Brolin) fight time and science to unlock secrets and stop Sebastian from his evil rampage. Customary for Verhoeven, wild strokes of vivid mayhem and graphic violence eventually command the spotlight. 

 

Frequent collaborator Jerry Goldsmith creates one of his lengthiest scores of all time, brings incredible energy to picture utilizing wall-to-wall music. Composer enjoys opportunity to fashion strong overall musical architecture with well-developed thematic material. Primary theme plays early in opening credits (“The Hollow Man”) as sinuous line winding above lean, plucked harp figure. Goldsmith also offers strong, forward-moving rhythmic idea for suspenseful scientific experiments plus numerous episodes of gentle mystery and uneasy suspense. But it is Goldsmith’s forceful, ferocious action music that commands, dominates, rules the day! 

 

Scored for large orchestra, Goldsmith unleashes charged rhythmic energy with numerous intense cues, legendary scoring mixer Bruce Botnick captures each with snarling, edged crispness. Brass are especially punchy! Previous album yielded generous selection of highlights but this Intrada restoration features over half an hour of previously unreleased score plus another 45 minutes of alternates! Goldsmith recorded an unusually large amount of pickups and inserts to be edited into existing cues, sometimes significantly altering tone or texture, changing endings or beginnings, resulting in changes both dramatic and subtle. Instead of simply including them as extras by themselves, Intrada assembles all of these revised bars onto their full-length respective cues. Listeners can select their preferred versions or play them all. The extras alone play as a complete album! 

 

New highlights abound amongst new material but oft-requested early action cue “Chasing Isabelle” stands out, with pulsating left-hand piano in energetic Rambo-ish manner! Two completely different takes of the previously unreleased “Wet Attack” also grab attention! Entire 2-CD assembled from original digital stereo mixes provided by Botnick. Flipper-style cover art designed by Kay Marshall  plus informative booklet notes by Jeff Bond complete exciting package. Bruce Botnick records at Abbey Road Studios in London, Alexander Courage orchestrates, Jerry Goldsmith composes, conducts. Intrada Special Collection 2-CD set available while quantities and interest remain!

 

TRACK LIST

CD 1 Complete Score
01. The Hollow Man (2:58)
02. Lady In The Window (0:40)
03. I’m A Genius (0:36)
04. Chasing Isabelle (2:04)
05. Isabelle Comes Back (6:00)
06. Linda & Sebastian (2:54)
07. This Is Science (6:16)
08. I Liked It (1:41)
09. The Buttons (Revised) (3:28)
10. Coffee Break (1:18)
11. Not Right (4:50)
12. What Went Wrong? (1:41)
13. In The Mirror (1:03)
14. Why Not? (0:58)
15. I Can’t See Him (4:31)
16. I Liked It #2 (1:37)
17. Not Yet (0:50)
18. Broken Window (2:57)
19. He’s Here (3:13)
20. Dead Dog (1:31)
21. False Image (1:59)
22. Late Meeting (0:36)
23. Hi Boss (2:53)
24. No Code (4:05)
25. Find Him (Revised) (4:55)
26. Bloody Floor (5:13)
27. Linda Takes Action (4:47)
CD 1 Total Time: 76:37

 

CD 2 Complete Score (Continued)
01. Wet Attack (Revised) (1:23)
02. The Elevator (2:56)
03. The Big Climb (Revised) (3:09)
04. The Hollow Man (End Credits) (7:16)
Score (Continued) Time: 14:49

 

Complete Score Total Time: 91:26

 

The Extras
05. Chasing Isabelle (Alternate) (2:07)
06. Isabelle Comes Back (Alternate) (6:00)
07. Linda & Sebastian (Alternate) (2:54)
08. This Is Science (Album Version) (6:20)
09. The Buttons (2:13)
10. I Can’t See Him (Alternate) (4:14)
11. Not Yet (Revised) (0:41)
12. Broken Window (Revised #1) (2:53)
13. Broken Window (Revised #2) (2:53)
14. He’s Here (Revised) (3:13)
15. Find Him (4:36)
16. Bloody Floor (Revised) (4:45)
17. Wet Attack (1:10)
18. The Big Climb (3:06)
Total Extras Time: 47:24
CD 2 Total Time: 62:29

"

 

https://store.intrada.com/s.nl/it.A/id.12663/.f

 

 

 

[Yavar Moradi 2,599]

Soundtrack Spotlight needs just a few tweaks and will be out in a couple days!

 

Yavar

[publicist 4,643]

Reading the phrasing on Intrada's site dampened my anticipation, as the mentioned inserts and odds & ends (some of which i already identified from an old bootleg, which offered what were slightly rewritten versions of i. e. Big Climb or Find Him) are certainly not 'substantial alternates'. Nevertheless, it's still on the order menu, as it is a very detailed score that can stomach a few more minutes and some of the slight alternates are preferable to the album versions (Big Climb especially).

[Jay 37,361]

So which cues were dropped from the final film, and therefor not included on the blu ray's isolated score track, so are debuting here?

[Richard Penna 3,687]

Wet Attack will be the one cue I kept from my isolated score rip way back.

 

I do wish Intrada would stop referring to every OST album as 'generous' where the unreleased material is anywhere near the half hour mark.

[OneBuckFilms 319]

Well this was an easy order for me. The samples sound awesome.

 

I remember the isolated score on the DVD back in the day and obsessing on that main title for a while.

 

My kind of Jerry Goldsmith.

[Brundlefly 2,385]

In general, the samples indicate a score that has more to offer in its entirety than I expected. Is the end credits suite a compilation or an entirely new composition and recording?

 

Followong Rudy, this marks a new all-time-low of the cover madness going on lately. Besides all kinds of cut-offs and odd transitions surrounding the title font that seem to originate from someone playing around with Photoshop for the very first time, the blue cover has parts of Elisabeth Sue's hair in the lower left-hand corner and parts of Kevin Bacon's hair above the title.

[Jay 37,361]

57 minutes ago, Brundlefly said:

Is the end credits suite a compilation or an entirely new composition and recording?

 

@Yavar Moradi says:

 

"a lengthy end credits suite (over 7 minutes!) made up of a lot of cues from earlier in the score"

 

https://filmscoremonthly.com/board/posts.cfm?threadID=149358&forumID=1&archive=0&pageID=1&r=134#bottom

 

 

57 minutes ago, Brundlefly said:

the blue cover has parts of Elisabeth Sue's hair in the lower left-hand corner and parts of Kevin Bacon's hair above the title.

 

Yep

[Richard Penna 3,687]

1 hour ago, Brundlefly said:

Followong Rudy, this marks a new all-time-low of the cover madness going on lately. Besides all kinds of cut-offs and odd transitions surrounding the title font that seem to originate from someone playing around with Photoshop for the very first time, the blue cover has parts of Elisabeth Sue's hair in the lower left-hand corner and parts of Kevin Bacon's hair above the title.

 

I'm not a fan of that cover mainly because I think the DVD cover it's based on is just godawful.

 

The general placement of the text and how they've pasted everything together.... yeah, far from the best I've seen. But you know, they could easily have given us just the OST-styled cover and left it at that. IMO they've just given us a bonus cover that's a little bit rubbish.

[thestat 348]

Sorry to be a bumward, but there is not actually much new here - simply versions of the longer tracks with additions presented as new tracks or are they completely different?

Can't emphasise how much I love this score, I love the theme, pseudo Basic Instinct/Haunting......

 

If there is a new approach to the score, let us know. This is okay, but middle-Jerry

And really not my favourite score. Like the film, the whole thing is ugly. Verhoeven did not want this, Jerry's score is too refined for this nonsese, and basic in its action stuff

Man, but this is still Jerry, it's not right, it's not cool, but it is goldsmith:

 

 

[Yavar Moradi 2,599]

Even if you totally write off the 47.5 minutes of alternates, some of which are quite interesting and others of which do admittedly feature some repetition, I don’t see how you can say there’s not actually much new here. There’s like half an hour more score proper! And there are some really great previously unreleased highlights, from Chasing Isabelle early on to more of the climactic action music as well.

 

The old album was longer than a lot of 90s Varese Goldsmith releases (because it wasn’t done with the AFM so reuse fees weren’t an issue), but they still left off a lot of music.

 

Yavar

[OneBuckFilms 319]

I'm really looking forward to this. Mine just received a tracking number so I expected it to be in the mail in the next couple of days.

[Jay 37,361]

10/25/2022

I’m excited to announce that with Bruce Botnick’s terrific help, we were able to obtain not only every one of Jerry Goldsmith’s cues scored for Hollow Man, but also the unusually large number of pickups and inserts later recorded to alter the initial “print” takes. These were not just alternates per se but were newly revised (or “rescored”) bars designed to accommodate post-production changes in the final editorial phase of the picture. As such, these new bars would sometimes completely change endings or beginnings, other times they would just subtly affect the orchestral colors or lengths of a cue after being assembled onto (or inserted within) the full takes being altered. When completely laid out, Hollow Man is quite possibly Goldsmith’s single longest film score ever. That it is attached to the sci-fi action genre, one that particularly delights his fans, then owning it all is indeed a treat!

Adding further to the thrills, our gifted art director has just launched our second “soundtrack trailer”, enticing prospective parties intrigued by our latest release to nab a quick 40-second preview of the album, with brief glimpses of the action-packed movie set to a snippet from the score. Our previous soundtrack trailer for Lifeforce garnered us some attention… hopefully this new one for Hollow Man will grab you as well!

The 2-CD set, world premiering a boatload of previously unreleased music, all courtesy of Sony, is now available from Intrada!

 

https://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8982

[Jay 37,361]

On 25/10/2022 at 9:27 AM, Jay said:

So which cues were dropped from the final film, and therefor not included on the blu ray's isolated score track, so are debuting here?

 

Anybody?

[Yavar Moradi 2,599]

It’s a rather complex question Jay, because some of the longer alternates (“I Can’t See Him” is the big one) were written for an earlier cut of the film, which later got released (on Blu-ray even) as a Director’s Cut that runs 1 hr 59 min, which is 6-8 minutes longer than the theatrical cut I believe (which is what got the Goldsmith commentary/iso score track on the DVD edition).

 

So some of these alternates were indeed “used” and can be heard in a commercially available version of the film, just not on that commentary. If you check out our new Soundtrack Spotlight podcast you can hear comparisons of some of these, including the one I mentioned:

https://goldsmithodyssey.buzzsprout.com/159614/11577733-odyssey-soundtrack-spotlight-hollow-man-2000
 

Yavar

[publicist 4,643]

I don't know if the DC was released with the (adjusted) ISO score but it's weird how good that boot sounded and it had definitely some of the cues/changes (i picked up on them even on a cursory listen, especially in 'Find Him' and 'Big Climb'). The 'I Can’t See Him' clip on Intrada's site sounds like the rape cue with the harsh edit (as present on the boot), though i don't know if the addition of more sneaking-around music helps the flow.

 

The score now again gets the old beating from the usual FSM guys who wrote off Goldsmith ca. after 'The Sand Pebbles'. But to me 'Hollow Man' always was a 60's score at heart, only with beefed-up production values (it just much more fun to listen to that style in this wet incarnation instead of the sometimes difficult dry-as-a-bone recordings of the 60's). 

[FunnyML 82]

Are cues like R1P2 The Rat or R3P3 Never There included in this set?

[Yavar Moradi 2,599]

12 hours ago, FunnyML said:

Are cues like R1P2 The Rat or R3P3 Never There included in this set?

 

Yavar

[1977 1,743]

On 25/10/2022 at 10:32 PM, Brundlefly said:

this marks a new all-time-low of the cover madness going on lately. Besides all kinds of cut-offs and odd transitions surrounding the title font that seem to originate from someone playing around with Photoshop for the very first time, the blue cover has parts of Elisabeth Sue's hair in the lower left-hand corner and parts of Kevin Bacon's hair above the title.

 

Intrada really doesn't seem to give a damn about excellence when it comes to their cover art sadly.

[publicist 4,643]

Anyone who would put *that* flip cover first has much more urgent aesthetic problems than bad photoshop croppings.

[Jay 37,361]

On 29/10/2022 at 9:58 PM, Yavar Moradi said:

Yavar

 

Thanks, that's great!

 

https://docs.google.com/spreadsheets/d/1ow80x3F9bwq6hidJnJ73JjsN62hsTxHmCd_-jI7rxwI/

[Jay 37,361]

Multiple people in the FSM thread are reporting clicking noises in the End Credits track

 

https://filmscoremonthly.com/board/posts.cfm?threadID=149358&forumID=1&archive=0

 

Roger says "There was none of this on the final master. We'll need to look into it." in that thread.

[whitenoise23 22]

Sadly, I can confirm the clicking...sounds similar to the pops/clicks you might hear listening to an LP.

[Brundlefly 2,385]

Well, it is very clearly audible in the sample (which makes me once again wonder what's wrong with Intrada's quality checking). The end credits don't feature any new music, so who cares...

[publicist 4,643]

Labels still reproduce this ugly end title stuff that sounds like tone-deaf fan edits? These cues deserve every pop and cackle.

[Holko 9,526]

3 hours ago, Brundlefly said:

which makes me once again wonder what's wrong with Intrada's quality checking

Apparently they don't have any.

[Richard Penna 3,687]

I like the inclusion of end credit suites even if they are just music editor-created. They're still in the film and some people might like to hear them. 

 

However I really wish that the session elements could contain the original edits featured in the film instead of the Intrada guys redoing them because they get them sufficiently inaccurate that if I'd wanted to keep the Mummy edit for example, I'd feel compelled to redo it myself anyway.

 

As for the clicking.... aside from general recording room ambience and things moving around, I don't hear anything.

[Brundlefly 2,385]

I will never get, why anyone feels the need of the inclusion of film edits or these weird end credits compilations. It's especially offending towards the composer, when there is an actual composition for the end credits that gets replaced by an amateurishly edited and totally unmusical series of short fragments from the score.

[Richard Penna 3,687]

In cases where the composer wrote a piece which gets replaced, I agree - that should be presented.

 

However, from the vantage point of just watching the film then listening to the credits, I often don't know or care whether what I'm hearing is an edit or the original cue - why would most people care? Either you listen to a piece and like it, or you don't, in which case we fall into the category of you want it included when you like it, and you don't when you don't. How on earth is a soundtrack producer meant to cope with that variance in opinion?

 

I think the only 'bad' edit in The Mummy's credits is back to The Sand Volcano at the end. I think the rest of it flows nicely and for a long time I didn't know the Imhotep quote near the start was tracked.

[Brundlefly 2,385]

Aside from the edits the second issue is the rapid changes concerning pace and mood that make these tracks often sound like someone skipping through a tracklist.

 

The Mummy end credits suite is if anything bearable in the context of the movie, however, unacceptable on any official album.

[Richard Penna 3,687]

2 hours ago, Brundlefly said:

The Mummy end credits suite is  (.....) unacceptable on any official album.

 

Couldn't disagree more, I'm afraid. I simply don't get this approach of something being 'unacceptable' on an official album if it is heard in the film or in some way has a curiosity that may be of interest to some.

 

It would be like saying that the film version of Ripples would be 'unacceptable' on a TLW reissue because it's a music editor creation. The only difference? A lot of people liked that one. There's no other difference - you don't like a cue so you don't want it on your personal CD.

[Tom Guernsey 2,284]

2 hours ago, Richard Penna said:

 

Couldn't disagree more, I'm afraid. I simply don't get this approach of something being 'unacceptable' on an official album if it is heard in the film or in some way has a curiosity that may be of interest to some.

 

I would be like saying that the film version of Ripples would be 'unacceptable' on a TLW reissue because it's a music editor creation. The only difference? A lot of people liked that one. There's no other difference - you don't like a cue so you don't want it on your personal CD.

Agreed. I like having an end credits suite even if it’s an editorial creation. Let’s face it, the number of lengthy Star Wars* style end credits suites is probably vanishingly small and even short end credits pieces is fairly small in the grand scheme of things (especially if you don’t include all of those “exit music” cues older movies used to have). A decently well edited suite from the score can make a nice cap to the rest and if you’re an iTunes/digital library person, it can make a good choice for a compilation. Do I wish John Powell had written an end credits suite for Solo? Of course, but the edited suite is a lot of fun and runs through the key score highlights and the edits aren’t especially egregious.

 

Not all editorial credit suites are created equal, but most I have found are worth a listen and again, back to star wars, the main theme concert suite was created editorially originally and nobody complains about that. There are a few that probably only needed a few bars of musical connective tissue to work as decent concert/end credit suites.

 

*while I know JW wrote duel of the fates/across the stars etc for the end credits of the respective prequels, as I’ve said before, the way they are edited into the end credits is pretty poor with no attempt to join them musically at all. Hardly anyone seems to complain about them but I’ve always found them pretty weak (obviously the music itself is superb but the editing/approach is weak!). 

[publicist 4,643]

6 hours ago, Richard Penna said:

It would be like saying that the film version of Ripples would be 'unacceptable' on a TLW reissue because it's a music editor creation. The only difference? A lot of people liked that one. 

 

If anecdotal evidence is the benchmark...

 

The kind of often shoddily editorially created credit assemblies are on these releases because it just doesn't matter much (there's a lot of musically superfluous stuff on it, anyway). But to replace a whole batch because there are pops in it, i mean, in times of worldwide efforts to save the environment just seems a wee bit off.

[Richard Penna 3,687]

I personally can't hear anything amiss in Intrada's sample anyway.

 

This concern for the environment does tend to take a back seat when an indexing error is made on a Williams CD.

[publicist 4,643]

Just now, Richard Penna said:

This concern for the environment does tend to take a back seat when an indexing error is made on a Williams CD. Just saying.

 

We all have our vices. 

 

Though i'm speaking from the lone perspective of someone who would never get another physical release if i wasn't forced to do so. I'd gladly pay the price (minus the horrendous shipping costs) for a digital download, since even loading the cd in my external drive seems a chore - it happens so rarely the thing sometimes seems to give up just by the lack of practice.

[Richard Penna 3,687]

Not gonna argue with that

 

I'd also be perfectly happy to never buy another soundtrack CD ever again if it made it easier to release more scores in digital form.

[publicist 4,643]

At least the speed many Deluxe release show up on Spotify these days allows for a good inspection beyond tinny samples. Shipping costs have soared beyond the reasonable, it's now costing as much as the cd. I'm not starving, i just find it obscene to pay upwards 35€ two cds.

[Richard Penna 3,687]

5 hours ago, Tom Guernsey said:

Agreed. I like having an end credits suite even if it’s an editorial creation.

 

Also, there's the factor that not everyone has the editing software and knowhow that many here have which would enable them to recreate these suites.

 

Hence if you still liked the music over the credits, and either didn't know it was an edit, or didn't have the means to make it, then releases like this are a nice bonus for those people.

 

So I can't fathom why someone would be so actively against their inclusion on an album, other than just a stubborn refusal to ignore tracks that they don't want in their personal playlist.

[publicist 4,643]

Just now, Richard Penna said:

Hence if you still liked the music over the credits, and either didn't know it was an edit, or didn't have the means to make it, then releases like this are a nice bonus for those people.

 

So I can't fathom why someone would be so actively against their inclusion on an album, other than just a stubborn refusal to ignore tracks that they don't want in their personal playlist.

 

I could imagine that the beefed-up running time pushing it to 2 or even 3 cd's - for a price - could attract some naysayers. But since the attraction of these releases is exactly that kind of bloat, it's also a futile argument. And i understand the labels totally: 90% of your customers crave the bloat and it gives you a slight edge in profits (which are slim), who's going to argue? But going by a purely musical perspective, i'd rather invest in the software. I bet there's no one on this board who couldn't put together a better 8-minute suite from AFO, the Mummy or Hollow Man.

[Richard Penna 3,687]

Oh, if it were a case of spilling over to a second or third disc to include an edit, definitely leave it off. I'm talking about releases where there's space so they might as well use it.

 

In one case, Dante's Peak, I wasn't 100% sure whether the credits were an edit or an original piece until Varese did their expansion. Someone at FSM asked them why it wasn't included and Neil Bulk confirmed it as an edit. They had the space to include it if they wanted to, and I had some fun rebuilding it.

[publicist 4,643]

Use Audition. The pupil and teacher edition is cloud-based and comes cheap...and if you order it via the US website, it doesn't require proof you are either. 

[Richard Penna 3,687]

I use Vegas Pro for my editing - I do a lot of video too so it was worth investing in.

[Jay 37,361]

Roger says:

 

"

It's not easy to precisely determine the patchwork that was done to create the end credits suite, so since we had what was prepared for the film, we just used that. Otherwise someone would have complained that the new suite wasn't a perfect match. That suite of course was derived from the first generation masters, but still being 22 years old we had to do some declicking. I thought folks were referring to those clicks, but after further examination I did hear the clicks people are referring to. I had to really crank up the volume as they are very low level. Not sure it's good for your ears to play music that loud. Due to the nature of those clicks they can't really be removed without distorting the music, so it would make it worse than actually having the clicks. We're still investigating, but most likely they're something you'll have to live with. Like me, things generally don't get better with age.

"

[OneBuckFilms 319]

I’m fine with them. Part of the original recording, tough or impossible to remove? Leave them in.

 

This release sounds great overall on my headphones.

[publicist 4,643]

It's such a non-issue, only the 2% with dog hearing seem to pick it up and the - as Roger rightly says - source is something put together outside the proper Goldsmith recording (i don't even want to know how much paperwork and extra tape stuff all of this entails).

[whitenoise23 22]

7 hours ago, Jay said:

Roger says:

 

"

It's not easy to precisely determine the patchwork that was done to create the end credits suite, so since we had what was prepared for the film, we just used that. Otherwise someone would have complained that the new suite wasn't a perfect match. That suite of course was derived from the first generation masters, but still being 22 years old we had to do some declicking. I thought folks were referring to those clicks, but after further examination I did hear the clicks people are referring to. I had to really crank up the volume as they are very low level. Not sure it's good for your ears to play music that loud. Due to the nature of those clicks they can't really be removed without distorting the music, so it would make it worse than actually having the clicks. We're still investigating, but most likely they're something you'll have to live with. Like me, things generally don't get better with age.

"

 

I did have to raise the volume quite a bit to hear the clicking, and it's easier to hear when listening on my studio monitors versus my earbuds. Nevertheless, I am really enjoying this release!