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 Posted:   Apr 6, 2014 - 11:05 PM   
 By:   Josh   (Member)

Moved my comment to the YSH thread:

http://www.filmscoremonthly.com/board/posts.cfm?threadID=102611&forumID=1&archive=0&pageID=1&r=772#bottom

 
 Posted:   Apr 6, 2014 - 11:57 PM   
 By:   SchiffyM   (Member)

Worst or better, no matter; THIS IS NOT THE ORIGINAL ONE...

I see how strongly you feel about this, but I'm not sure what the "original one" even is, as there were differences in 1985 between the mix on the LP and the one in the film.

I guess I don't really buy into the whole "one true mix" idea. Film mixes are compromised for all sorts of extra-musical purposes. Working in television, I've sat in sound mixes where I had them push an instrument down in the mix because it interfered with dialogue, or we belatedly added a sound effect that seemed incompatible with the music. But the music, as pure music, was better before we tampered with it. Films often have different mixes for different purposes, and sound different in the theater from how they do on a Blu-Ray. Again, on shows I've done, I've left the mixing stage happy with how it sounded, only to find it sounded totally different on my set at home.

All a CD producer can do -- and in this case, it was the composer himself -- is what sounds best to him. I don't think any of us would want the score for (say) "Spellbound" to forever sound as distant and compressed as it did in the original 1941 recording. Likewise, why should the nearly three decades old "Young Sherlock Holmes" be forever shackled by the time, technology, and cinematic limitations placed on it at the time?

I haven't heard the new CD yet (though it did just arrive in the mail). Maybe I'll like the new mix more, maybe less. But I don't agree that any new mix is by definition somehow "wrong."

 
 
 Posted:   Apr 7, 2014 - 6:31 AM   
 By:   Rozsaphile   (Member)

Well said. Also the comment by Mastage above.

 
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