I'll be there. My favorite new thing is the guy who fancies himself an amateur armchair expert film mixer who creates his own 5.1 mixes in the comfort of his own home - he thinks that when you're mixing down three-tracks to two that the center channel is mono so they can lower that for dialogue placed in the center channel. I do hope he understands that the left channel and right channel are also mono and that when combined they make this thing called stereo Also, there are many film score releases derived from three-track elements, including Intrada's own The Wind and the Lion, and I'm sure that's not the only example.
They keep trying to tell me that these three-track mixes are different than the two-track mixes used for the previous releases, while my belief is that they printed the three-track mixes to digital and analogue and that the two-track stereo mixes were created from their original digital three-track mixes - you know, the ones done by Jerry Goldsmith and Bruce Botnick. Because I cannot tell you what the odds are that a brand new mix done from the multi-tracks at the time of the original LP release could match exactly the spatial relationship of where everyone in the orchestra is placed, as well as the spacial relationships of the electronics. I'd say that would almost be impossible, but, then again, who knows. All I know is they basically sound the same and that any perceived differences between the various CD releases can be chalked up to EQ and mastering differences. And then we're quoted Mr. Botnick's original note from the original LP release wherein he states that the mixes were derived from the multi-tracks, as if that were proof of something. Of course they were derived from the multi-tracks - what he doesn't say is that they are NEWLY derived from the multi-tracks and differ from the three-track mix downs, which, BTW, are also derived from the multi-tracks. And around and around she goes and where she tops nobody knows.
Here's what will happen when people finally get their CDs. Some will prefer the Intrada (certainly the Intrada fans will), some will prefer the Varese (certainly the Varese fans will) and some will prefer our new edition (certainly the fans of our sound will). I know which I prefer and I'm thrilled with the way it's turned out, so that's at least one who prefers this latest version
Here's what will happen when people finally get their CDs. Some will prefer the Intrada (certainly the Intrada fans will), some will prefer the Varese (certainly the Varese fans will) and some will prefer our new edition (certainly the fans of our sound will). I know which I prefer and I'm thrilled with the way it's turned out, so that's at least one who prefers this latest version
Well, I have listened to the exp. Intrada a few times today and yesterday and can't wait to actually compare. My wife will execute the blind-test for me !! This will be fun ....
What time will this be available for order on Monday. I have a feeling it may take minutes with all this interest. I hope I get one, because not getting one will make me feel like I have a substandard Varese CD in my collection.
What time will this be available for order on Monday. I have a feeling it may take minutes with all this interest. I hope I get one, because not getting one will make me feel like I have a substandard Varese CD in my collection.
Six in the morning, California time, as always. I really don't think it's going to be as quick as people are supposing.
It will indeed sell out in minutes, in that anything that takes more than 120 seconds can be accurately said to sell out in minutes. But I agree that this echo chamber shouldn't fool anybody into thinking this will be a "blink and you'll miss it" situation, though of course I wish nothing but the best for Bruce.
It will indeed sell out in minutes, in that anything that takes more than 120 seconds can be accurately said to sell out in minutes. But I agree that this echo chamber shouldn't fool anybody into thinking this will be a "blink and you'll miss it" situation, though of course I wish nothing but the best for Bruce.
Me too. I'll admit, I love the excitement generated from upcoming titles, and this is no different. Unfortunately, this thread (like others) will probably die a quick death once we have received our order.
Bruce... this release better have a detailed track-by-track analysis of each and every cue, including the bonus ones, or I'm asking for a refund! (Just kidding! Just kidding! I'm referencing a past question I had for Bruce regarding differences between his liner notes and Peseverance's liner notes for Chitty Chitty Bang Bang).
Me too. I'll admit, I love the excitement generated from upcoming titles, and this is no different. Unfortunately, this thread (like others) will probably die a quick death once we have received our order.
I tend to think of it like eating a meal; if there is no discussion going on it's usually a sign people like the food. If the food/service/menu stinks, they will let you know around here!
After all this talk about the different releases and sound for Poltergeist 11 I have to ask...is the score any good? Is it a good listening experience? Never seen the film nor heard the score.
Well, I'm clearly very wrong. Why do I so remember seeing it without the subtitle? Also, Leonard Maltin's guide lists it as just "Poltergeist II," and they're main title card purists. Hmmm…
Maltin's book isn't always accurate, especially in that regard. Also, if you look at all of the movie's original advertising, credits, etc., THE OTHER SIDE was always listed there in addition to being on-screen. It was only when MGM released one of their DVDs a decade ago that, suddenly, the movie was now just called POLTERGEIST II (then Varese opted to just re-use MGM's new artwork for their CD release). The title was always "Poltergeist II: The Other Side".
Being an admirer of JG I still won't be going for this. I own the original Varèse, and the plunge in quality from the original Poltergeist to the sequel is just too big.
Actually, despite any foibles, and who doesn't have them?, I appreciate Bruce for being a continual presence on this Board.
He's the only one of the producers who is involved on this level, and, besides for his always-intriguing releases, I have to give him the award for sheer stamina, in putting up with all of us.
Yet still he does, dropping hints, discussing availability, and even sharing from the heart about scores dear to him.
...Some will prefer the Intrada (certainly the Intrada fans will), some will prefer the Varese (certainly the Varese fans will) and some will prefer our new edition (certainly the fans of our sound will)...
Never been a "fan of a label", and I'm not even a big Goldsmith fan but will cath this new Kritzerland release at light speed since I love the Poltergeist music concept pretty much.
Actually, despite any foibles, and who doesn't have them?, I appreciate Bruce for being a continual presence on this Board.
He's the only one of the producers who is involved on this level, and, besides for his always-intriguing releases, I have to give him the award for sheer stamina, in putting up with all of us.
Yet still he does, dropping hints, discussing availability, and even sharing from the heart about scores dear to him.
No wonder he's Bruce the K! ----------------- I too, appreciate Bruce's contribution to this board. Top man!
Actually, despite any foibles, and who doesn't have them?, I appreciate Bruce for being a continual presence on this Board.
He's the only one of the producers who is involved on this level, and, besides for his always-intriguing releases, I have to give him the award for sheer stamina, in putting up with all of us.
Yet still he does, dropping hints, discussing availability, and even sharing from the heart about scores dear to him.
No wonder he's Bruce the K! ----------------- I too, appreciate Bruce's contribution to this board. Top man!
I like the interaction - the majority of folks here are good folks and most of the time it's fun. We do have our three or four folks who like to do what they do in any thread they can, but I think most labels have had that happen to them - I guess it's the nature of the beast, with an emphasis on the beast
Also, there are many film score releases derived from three-track elements, including Intrada's own The Wind and the Lion, and I'm sure that's not the only example.
