|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
If you haven't read this 1994 interview, read it -- it's quite enjoyable: http://www.runmovies.eu/?p=9835 (is this page archived on archive.org? Rampant internet censorship at the library has the Way Way Back machine blocked and it doesn't function properly in any proxy website that I have found so far) NEW Soundtrack! magazine website link: https://cnmsarchive.wordpress.com/ EDIT: No new page for the Len Engel story.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 27, 2015 - 11:45 PM
|
|
|
By: |
Smitty
(Member)
|
One of Nick Redman's remarks that I thought especially hit the mark was: "People call me complaining about hiss, like hiss is the worst possible thing they can imagine. Hiss, to me, means that real people played this music. The completely silent and sterile DDD format has an inhuman quality about it. Again, this feeling of people who don’t really care about the quality of the music – they only care about the quality of the sound." Read this all the way through. It's good. Ron Burbella Absolutely, and we still see it often. I have my limits when it comes to sound quality, probably much more stringent than most Golden Age soundtrack listeners, but it seems that a lot of people take issue with even the smallest imperfections. They somehow ignore the music and mostly hear the thin layer of noise and/or slight distortions. Many of these people's judgment is odd, too. As I think Bruce Kimmel once said, there are a lot of 60s and 70s recordings that put common, beloved 80s recordings to absolute shame with regard to detail despite many saying the inverse. I couldn't agree more.
|
|
|
|
|
|
|
|
|
That part makes no sense: "People call me complaining about hiss, like hiss is the worst possible thing they can imagine. Hiss, to me, means that real people played this music." What has the noise made by musicians during the playing to do with HISS on the tapes? The musicians' hitting their violins with their bows or the rattling of the keys on a clarinet, or the humming of the conductor are audible on DDD recordings as well - and often much more so. The hiss comes from the imperfections of the analogue chain during recording. That said, in the past record companies have all too often killed the top end of the old recording by noise reduction. Better hiss than no top end.
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 28, 2015 - 7:33 AM
|
|
|
By: |
The Thing
(Member)
|
I found the talk of the state of the soundtrack collecting market quite sobering, considering that article is 20 years old. With a possible audience size of just 5,000 collectors, and the glut of releases coming out back then and quickly disappearing unnoticed, it's a wonder things are still going. Obviously these days, most of the labels engage in discussions with their customers on this board and can therefore have a good idea of their potential market. But for the one or two who don't, it can seem like they are just flooding the market with new releases from current movies, and sometimes they come and go with little or no discussion on here, and potentially result in far lower sales figures than they could achieve. Additionally, are new younger collectors appearing in sufficient numbers, or does the collector base consist mainly of the same fans growing older, who potentially have music tastes leaning towards the older scores rather than the newer ones? Obviously, not having brick 'n' mortar stores displaying CDs isn't going to help matters... does the equivalent of having online stores with digital content compensate for that? Or is it far harder to catch the eye of casual listeners when everything can disappear off-screen with the click of a mouse button?
|
|
|
|
|
|
|
|
|
overreaction to analog tape hiss is a terrible thing in my experience. If there's one thing I can't stand it's vintage recordings whose top end has been defanged in the name of removing all hiss. Yes, it's AWFUL! Less is more... I'll take a hissy recording any time over a (over-)noise-reduced one. What's more: with today's possibilites one can apply NR-filters during playback. If it is done on the source, however, it's irreversible and will sound awful for all eternity. The same goes for odd EQ choices, fake stereo effects etc.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 28, 2015 - 12:49 PM
|
|
|
By: |
Grecchus
(Member)
|
I liked this quasi-comedic anecdote: Could anyone ever sue the soundtrack labels that put out limited-edition releases for the collector, but don’t pay the re-use fee? There is a chance that one of these companies could get sued. However, I think the following would have to happen: You would have to take the soundtrack disc to the head of business affairs at the studio who owns the film. You’d have to put it on his desk in front of him and say, “This is an illegal release of one of your pictures.” He would say, “I’ve never heard of this movie.” You would then say something like, “It’s one of your studio’s most famous films.” He would then reply, “And what is this?” And you’d respond, “It’s the music from the film.” He would then say, “Well, who’s done it?” You would say, “It was done by such-and-such a company,” and he would then say, “What’s their telephone number?” You would then give him the telephone number. And if he got a busy signal, that would be the end of it. The bottom line is, nobody cares about film music. It’s sad but true.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|