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My copy is within a current pending order.
But this is grim news, if it's badly noticeable.
The End Credits piece is one of the most wanted unreleased cues from the film.
Is this release an in-house job, without involvement of Malone, Nelson or Matessino?
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Maybe Intrada can send out 'fixed discs' like they've done before?
They offered replacement Humanoids From The Deep CDs cos of a minor trumpet overlay ommision.
Surely this is more pressing (no pun intended).
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Ok, listening more closely now and definitely hear it. Really hope Intrada issues a corrected disc.
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Posted: |
Oct 8, 2024 - 8:26 PM
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By: |
Amer Zahid
(Member)
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Okay Roger Feigelson just clarified everything on Facebook:
Feigelson: " I guess the bottom line is if you don't like the sound, you don't like the sound and regardless of the explanation, you still won't like it. If you want to get into the weeds. The Raptors cue and the end title in the film used take 46. However when putting this album together, it was apparent take 44 was going for a different sound and was recorded on the 24-track exactly as you hear it in the three album version end titles. Given its difference, rather than simply repeating take 46 in the end title we opted to use the take 44 alternate to give yet another previously unreleased and different read of the material. Just so you know the complexity of putting these together, there were over 100 performance edits. Regarding the short cue that we didn't include, we had the sessions that Newton Howard had in his library as well as the Disney vaulted sessions, including a separate pick up session for later changes to the score. This piece was no where on any of that or listed on the cue sheet. Frankly it sounds like a synth demo. I have reached out to James to see if he has any recollection. So there you are. The end title was a creative decision, not a mistake. And I get it some don't like the sound and would have made different decisions."
This came up on On Dangerous Ground as well and Mike Ross went through it with a fine-toothed comb and could not find any of this phasing. Similarly Chris Malone went through the end credits and didn't find any "phasing." In any event, we put our trust in Mike and Chris. I hear how it sounds very different, but don't hear phasing. Not possible when the source is a sync-pulsed multi-track element. The whole reel would have been out of sync/phase, not just the one track.
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Is the OST portion of this the exact same master as the original release?
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I dont get it
anyone?
so film uses a take and the CD another one.... because
That seems to be the long and short of it. I don't get it.
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