Two different recordings. Varese, original score recording. Intrada, the LP re-recordings issued at the time. I (& many others) think the LP recording is better, better playing, better recording, better stereo...& us old codgers have been enjoying these LP's for a long time. It's the same with Patton (LP recorded in England), thought to be much better than the original recording.
At last the albums on CD. The Varese release is about 15 years old, doesn't sound so hot & is woefully incomplete. Will they ever release a two-disc complete & remastered Flints? I wouldn't hold your breath.
Oh, righteo. I wasn't initially aware of the V/I presentation differences. Thanks for airing them this thread.
It has also been dtd'd that the Patton rerecording is wetter than the dryer sounding original score from the film. Personally, the more hall-like echo effects from the rerecordings Jerry was fond of don't sound as good as the better sonic absorbtion from the score releases - to these ears at least.
This raises an interesting difference of opinion. If I'd been in conversation with JG I'd have pressed him to the point of brinkmanship to justify why introduction of the shrill side-effect of a hall echo makes the score sound better, when it very clearly muddies the overall sound quality with blended self-interfering sections of the orchestra.
Oh, righteo. I wasn't initially aware of the V/I presentation differences. Thanks for airing them this thread.
It has also been dtd'd that the Patton rerecording is wetter than the dryer sounding original score from the film. Personally, the more hall-like echo effects from the rerecordings Jerry was fond of don't sound as good as the better sonic absorbtion from the score releases - to these ears at least.
This raises an interesting difference of opinion. If I'd been in conversation with JG I'd have pressed him to the point of brinkmanship to justify why introduction of the shrill side-effect of a hall echo makes the score sound better, when it very clearly muddies the overall sound quality with blended self-interfering sections of the orchestra.
Dry is good.
I respect your reasoning here but disagree slightly. It depends on the clarity of the instrumental separation. I agree that TOO much reverb muddies things, but too much dryness also create a lifeless and flat aural soundscape.
I think his CAPRICORN ONE rerecording is a great example of how a better recording can influence a better listening experience. Take the overture of the LP album and that heard in the film's end credit. It's night and day - Especially the sweeping Kay't Theme interlude, which surges with a vitality and lyricism not heard in the film version.
The composition is the same, the timings even, in this case it's all about the lush ambience and spacial scope provided by that rerecording.
I think his CAPRICORN ONE rerecording is a great example of how a better recording can influence a better listening experience. Take the overture of the LP album and that heard in the film's end credit. It's night and day - Especially the sweeping Kay't Theme interlude, which surges with a vitality and lyricism not heard in the film version.
The composition is the same, the timings even, in this case it's all about the lush ambience and spacial scope provided by that rerecording.
Just my opinion!
But the opening to the CO original score MT provides as much pinpoint clarity and ostinato vibrancy as could possibly be expected. It would be interesting to find out what the actual fan balance between those for and against each approach amounts to, wouldn't it?
I'll be sticking with the Varese release after listening to the rerecording samples. I guess an example of liking what one is used too.
I can see that, I love the albums for the same reason. I enjoyed them for years (decades!). It's so great when an LP I loved gets a CD release, it doesn't happen very often these days. Just a handful of soundtrack LP's & about 10-12 classical LP's to go, & I'm thinking most of those won't happen.
I know Im one of the few prefer digital guys on here but Im very curious what iTunes Match will do with the LP albums. Will it try to match it to Varese or recognize it as different? No documentation on the algorithm but does kind of a song recognition thing. And no way to force it.
Why care? The scanned version will reside on desktop but with iTunes Match, it will either play matched or uploaded. If it matches Varese I can never hear except from desktop.
I just listened to the Intrada samples, and even on my lousy little computer speakers, I can tell already that these mixes are a vast improvement over the Varese.
The album versions place the rhythm section in the center and the rest of the orchestra spread left and right. It serves the music.
The Varese (film tracks) CD has the rhythm split hard left and right, and buried too far down relative to the melodic elements in the center.
Varese could, with Nick Redman, reissue newly remastered and complete versions of both scores, perhaps individually, with the mag-wow completely removed!
It could take some time, though... ESCAPE FROM THE PLANET OF THE APES finally happened, unfortunately with inconsistent sound levels... but it happened!
Varese could, with Nick Redman, reissue newly remastered and complete versions of both scores, perhaps individually, with the mag-wow completely removed!
It could take some time, though...
Well the work's been done, & the results are on the isolated tracks of the Blu-rays, but are Club releases of vintage scores part of the Varese business plan anymore ?
I just wish one, or both, had left off the hideous "Your Zowie Face" vocal.
The lovely Spanish vocal version on the Blu-Ray isolated tracks is far more attractive and may be far more acceptable to you. You can hear it in the film after Flint arrives at the Virgin Islands and is introduced at nightfall to the ladies at the resort.
