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This is much ado about Doo-doo. So one person is unhappy? Who the fek cares? When he sends it back, it'll just go to someone else who does want it.
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Posted: |
Jun 14, 2011 - 9:47 AM
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By: |
Jehannum
(Member)
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It doesn't have a tremendously big or full sound, but to me it sounds more like some other late 70's / early 80's recordings that shared the same... pinched ...sound. That may not be the best term to describe it. But there is a shrill quality to it. Some 70's /80's ( heck even some 50's-60's scores which have been released ) sound like they were recorded yesterday, while some do indeed have this certain thin or compressed sound.
However it isn't hampering my enjoyment of the score. It is a clear, crisp recording and whatever shortcomings there may be...and to me they're small...seem to be as mentioned, due to the nature of the recording itself.
Still would highly recommend this to anyone interested. It surpasses the Varese CD and that battering ram track everyone was talking about - Hell Yes - is fabulous.
Pinched is not the word.
I've been doing a bit of experimenting with EQing the sound. In my opinion it's all wrong. Passages with high pitched instruments max out the waveform whereas the bass under 100Hz (where much of the feeling of power comes from an orchestra) hardly shows up.
I've just spent an hour re-EQing the sound onto new tracks to burn onto a CD. The bass information is there, vastly reduced. To me (because I know listening is subjective) this means the problem is in the CD mastering, not the recording.
I've removed the 'pinchedness', made it listenable for myself, although increasing the bass causes a certain 'boxiness' to the sound (happily, far less than I was expecting).
I'd like to hear the opinion of Marlene or someone else interested in this stuff. Through my experience of certain other Douglass Fake productions I was half expecting / fearing this. I've heard producers say they all have different preferences of sound. Unfortunately DF's preferences are very different to the sound I like.
As for the quality of my stereo system: it's not the best, not the most expensive, nor should it have to be for me to enjoy music. I play many CDs of older or contemporary recordings to Masada that sound excellent to me.
I don't like complaining about releases. I can't remember when I last did so. I appreciate the work that goes into making them. However, I couldn't pass this one without comment because I have been so looking forward to hearing Masada ever since I got into Goldsmith. I'd deliberately not sought out the re-recording in the hope that there would be a new release of the OST.
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Through my experience of certain other Douglass Fake productions I was half expecting / fearing this.
Care to specify what other CD releases?
I could be wrong, but I wonder if the recording (rather than the mix) was what it was, for the simple reason that, in 1981, it was meant to be heard through those small built-in speakers that came with all televisions of the period. They were incapable of reproducing the rich bass frequencies that we associate with today's cinematic recordings.
This may not necessarily be Mr. Fake's fault.
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Might I suggest that all anally retentitive sound mavens read pages 18-20 of the booklet?
By the by, terrific liner notes by King Burlingame!
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Posted: |
Jul 1, 2011 - 10:49 AM
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By: |
Urs Lesse
(Member)
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I received this one yesterday as well and I must say it is a delight in every respect – sound quality, design, entertainment. Goldsmith's disc 1 flows surprisingly well for such a packed program, while Stevens' disc 2 is a bit tougher, err (sorry, Francis!  , I mean: challenging, of course!,  to listen to. And pages 21-22 should especially please my honorable colleague Sir Moors, too.
To Joe Sikoryak: This is the most beautiful Intrada booklet I've seen from your craft so far.
I'd welcome it if you did without gradient backgrounds more often with Intrada booklets.
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Morton Stevens' disc two is EVERY bit as good as the Goldsmith disc one and there should have been TWO emmys given for this music....IMHO...:-)
He was Emmy-nominated for Part IV. Goldsmith won for Part II.
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