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What Lorien said above about scores with electronic elements is a little bit like what I said earlier before I went of the rails so to speak. I mentioned Schifrin's THE HELLSTROM CHRONICLE, Mellé's THE ANDROMEDA STRAIN... anything really kind of semi avant garde or experimental. A good tune might get through on the strength of the melody alone (at a basic level anyway), but the many intricate scores which may or may not include electronics, but which certainly only work to full effect when all the little details can be heard in all their sonic glory, are the ones which come to my mind at least. I was just listening once more to La-La Land's release of Michel Colombier's COLOSSUS: THE FORBIN PROJECT and wondered how it would have sounded in muffled, archival form. I always liked the score ever since "taping it off the TV" (zzzzzzzzzzzz) more than four hundred years ago, but it really does reveal its full brilliance under close scrutiny, and this release is stellar.
So, repeating myself, all scores and all music benefit from optimum sonics, but the kind I mentioned might benefit more. Which I think is what Mike Esssssssssssssssssss was suggesting originally anyway, so, to cut a long story short, The End.
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APOLLO 13 also now stand outs with a far more dynamic sound.
Interesting. I've always loved the booming reverb of the previous incarnations, which feels so of a piece with the score and the movie. Because I own the Academy promo I've held off on the Intrada up until this point, figuring that I like the mastering exactly the way it is and not wanting to tempt fate. I don't want a situation like the rerecording of LAST OF THE MOHICANS, which has its highlights but loses the sheer power of the original. Not exactly the same thing I know, but what is the internet for if not for shoddy analogies and straw men?
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MORITURI is a good example because, like David, I own the FSM release but never connected with it. But now I'm seriously considering the new Intrada because the remastering gives it an entirely new personality.
You should. I felt the same way about the FSM (actually I'm wondering if you're confusing me with David, in the podcast?) and the Intrada on good headphones was something of a revelation. I still wouldn't call it one of my favorite Goldsmith scores but I have a great deal of respect and appreciation for it now.
Yavar
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Did any of you guys purchase the Intrada Morituri?
Mike Esssss
Yavar
Thierry
Morricone
Pangolino
Nono
Basil Wrathbone
Everybody loves Morituri now?
(except KeV McGann - who dislikes a lot of early-'60s Goldsmith)
The only CD Graham Watt is buyin' is the 2 potato crisps by Gerald Fried. 
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A bit like the first recordings of, say, Louis Armstrong. It's all snap crackle and pop, but you (or at least I) wouldn't want to hear a new recording where people are PRETENDING to be Louis Armstrong.
But I think that's bordering on a different topic.
I just listened to a few of Louis Armstrong's early recordings, they were done in the 30s and in mono, of course, but wow, what a cool sound they still have (especially when you consider how old they are). So whatever they did to those recordings, I'm sure the music benefited very much.
You cannot replace those recordings, obviously; you cannot "re-record" one jazz artist with another jazz artist... that is just against the very idea of this music.
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