 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Hey Mr. Kimmel,
I'm eagerly awaiting my POLTERGEIST II CD; however, I ordered it from SAE. Don't mean to be a pest or have you answer the same question a thousand times over, but: When do you send the copies of this title (or any other release for that matter) to outside dealers? Just trying to get a feel for when I can expect my CD. Thanks and again sorry for the query!
BTW, If the SAE folks are scanning this thread, maybe the answer should come from them.
Dealer copies go out the same day as Kritzerland orders, so for SAE it usually arrives three to five days later to them. I'm sure they got them either yesterday or today, then it's however long it takes them to turn it around on their end.
|
|
|
|
|
|
Spun it a few times last night. Absolutely stunning. Hearing the choir-less tracks was a revelation, particularly The Worm when the creature is slithering around the floor. I could hear details and instruments that were virtually impossible to hear before with the choir. Wow!
Many thanks, Mr. K.!!!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Anyone know what the deal is with the crossfades (as mentioned in the liner notes)?
"Missing in action were a handful of short but excellent cues.
Also, as was the style, several cues were put together using crossfades, which is a choice.
What a crossfade does however is kind of mask the outgoing cue’s final notes as the incoming cuemakes its presence known.
For this first time ever complete release ofPoltergeist II:TheOtherSide,we have gone back to the original three-trackmixdowns. All cues are present and accounted for. We’ve left some of the combined cues the way they were but have eliminated the cross fades so that each cue is note complete."
?
Thattaboy, Bruce!
|
|
|
|
|
|
|
|
|
|
Anyone know what the deal is with the crossfades (as mentioned in the liner notes)?
"Missing in action were a handful of short but excellent cues.
Also, as was the style, several cues were put together using crossfades, which is a choice.
What a crossfade does however is kind of mask the outgoing cue’s final notes as the incoming cue makes its presence known.
For this first time ever complete release of Poltergeist II:TheOtherSide,we have gone back to the original three-trackmixdowns. All cues are present and accounted for. We’ve left some of the combined cues the way they were but have eliminated the cross fades so that each cue is note complete."
What tracks does this apply to?
I have not received my copy yet, but the crossfade that bothered me in the previous releases was "The Vorm/Out of the Ceiling", I hope that was undone for this new release.
All the crossfades are not as they were on previous releases - it's not something James Nelson or I ever do. It's subtle but you can hear the difference.
|
|
|
|
|
|
|
Received my shipping confirmation from SAE my order for Poltergeist II and Tokyo Blackout shipped :-) Never owned any of the previous releases of Poltergeist II think I'm in for a treat here. Thxs Bruce for all your efforts in putting this release together
|
|
|
|
|
|
Removing the reverb has given the orchestra a new dynamic sound. There were musical lines and instruments was able to here clearly for the first time ever. Also, the orchestra sounds like it should and it sounds like it is right in front of me. THe previous releases (Intrada 30 minute, Intrada Extended and Varese Deluxe) all sounded as though the orchestra was performing in some grand cavern, bellowing and echoing all the while masking much of the detailed work invested by Goldsmith. It was like a wonderfully detailed Renaissance painting was completed then smeared.
The isolated Vocal Track actually made me laugh a bit when heard out of context with the orchestra. I almost like the cues without the chanting now because I enjoy all the instrumental parts that I was never able to hear before now..
Either way, I truly love the new sound quality and all the extras. This was a superb job.
|
|
|
|
|
|
|
 |
Posted: |
Sep 12, 2013 - 3:45 PM
|
|
|
|
By: |
Francis
(Member)
|
All the crossfades are not as they were on previous releases - it's not something James Nelson or I ever do. It's subtle but you can hear the difference.
The album does flow nicely, comparing the Intrada special edition, the Varese Deluxe and the Kritzerland releases, yours comes out best IMO and I'm discovering lots of detail in the instruments I wasn't picking up on before (orchestra and synths!). It's interesting to compare it with the digital mix from Intrada's special edition, which is not bad but a bit on the soft side. The Varese deluxe is the complete opposite, far too loud and suffers from clipping in places, cutting off frequencies, which makes detail drown in the loudness.
And like David said, the choirless tracks are great to hear what is going on behind them. I think this is one of Goldsmith's best synth-orchestra scores and those who only focus on the orchestral bits are missing out; I really like his sound palette for this score and how he manipulate's those sounds, which a conventional orchestra just couldn't do. True genius.
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 12, 2013 - 4:10 PM
|
|
|
|
By: |
AlexCope
(Member)
|
Just gave both discs a listen and am very pleased with this release. I had only heard the Varese Deluxe edition prior to this, and though I don't really have the musical or technical vocabulary to describe what I didn't like about it, I just couldn't connect to the music. I liked all the melodies, but I just couldn't really connect to the score the way I do other Goldsmith scores. Something about it seemed a little washed out in general - not just the choir, but some of the louder brass moments and the beautiful swelling strings. Whatever it was, at last after hearing this remastered version those swelling strings in Late Call swept me away, those thrilling Copland brass moments made my hair stand on end, and finally, finally, I was able to make out just what the hell that choir is chanting in all those horror cues. Of course they're chanting "God Is In His Holy Temple." Talk about a real slap-to-the-head moment there. And I'd also like to express just how much I appreciate not only the remastering and complete score presentation but also the second disc of bonus/additional cues. I respect the decision to make these available (and at no extra cost) as it really boils down to an act of preservation. Maybe these alternate versions seem minor to some, but they're a part of a notable work from an important composer, and having them out there is a big deal in my book. Anyway, a big thanks from this Goldsmith fan!
|
|
|
|
|
|
|
Everyone who is enjoying this release and how great it sounds should send a special shout out the the GREATEST MASTERING ENGINEER I have every had the pleasure to work with
JAMES NELSON AT DIGITAL OUTLAND!!!!!
This man has saved more asses at several record labels (Including my own) then you can sake a stick at.
This one sounds AWESOME to my ears.
Bravo Mr. Nelson.
Sincerely,
Ford A. Thaxton
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Everyone who is enjoying this release and how great it sounds should send a special shout out the the GREATEST MASTERING ENGINEER I have every had the pleasure to work with
JAMES NELSON AT DIGITAL OUTLAND!!!!!
This man has saved more asses at several record labels (Including my own) then you can sake a stick at.
Agreed. We should be thankful that we have one mastering engineer who always does an awesome job.
James Nelson is the best. We've all known it for years and others have learned it. There are reasons for this. Most importantly, he loves music and has good ears. And he cares about the projects. When I decided to do this CD, and they found the analogue three-tracks, there was not an instant of hesitation in telling James that's what we were going to be using. I then told him exactly and in detail what didn't please me about the previous releases: The Varese, too hot and obnoxious and fatiguing to listen to. The two Intradas mastered at way too low a level and that in conjunction with all that extra reverb Bruce Botnick had added to an already wet orchestra PLUS the huge reverb on the choir that then washed the orchestra into aural oblivion even more and made the whole orchestra sound like they were down the hall to the right and then just the whole harshness of the digital sound itself. He listened, agreed with me completely, and then we began. He had lots of questions and I answered them and we spent days and days (this is the most expensive mastering bill I've ever had) going back and forth between the previous releases and the new tracks as they'd come in - the minute I heard the first track that came in I knew we were in great shape - everything was clear and beautiful and - WARM and present. We added no extra verb to the orchestra (he asked me if I wanted to emulate that and I said absolutely not), and a lot less to the choir so all those details suddenly shone through in very obvious ways. It was a revelation to hear. And then, of course, we had to deal with all that unnecessary drama that occurred elsewhere, which was enervating, but which I knew, in the end, would be obvious to anyone who heard the new version.
The mixes are exactly the same - every single thing about them EXCEPT the verb and where we placed the choir in terms of volume - there were things in the original CD releases that were completely buried due either to being too far back in the mix (where they are not in the film - very present there) or because the reverb was just washing them into the orchestra, the result of which was loss of clarity in both. I was originally concerned that it was just a distant-sounding mediocre recording, but, as you can hear, the recording itself was beautifully done. Both James and I nitpicked this a lot, a lot of back and forth discussion, but both of us could not be more pleased with the result. He was just as enervated by the drama going on, I may add, but at the end of the day all a producer and mastering engineer have is their ears and their personal taste and they can only be true to what they believe great sound is.
I cannot tell you how heartening it is to read these comments - it made all that work worth every hour and every penny! I may not be as technically conversant as other producers, I may not know this or that, but I think I have the most important thing: I know what I like. I know what I respond to and I know from having listened to film scores since I was a wee bairn, which sound spoke to me and which didn't.
|
|
|
|
|
|
|
Hey Mr. Kimmel,
I'm eagerly awaiting my POLTERGEIST II CD; however, I ordered it from SAE. Don't mean to be a pest or have you answer the same question a thousand times over, but: When do you send the copies of this title (or any other release for that matter) to outside dealers? Just trying to get a feel for when I can expect my CD. Thanks and again sorry for the query!
BTW, If the SAE folks are scanning this thread, maybe the answer should come from them.
Dealer copies go out the same day as Kritzerland orders, so for SAE it usually arrives three to five days later to them. I'm sure they got them either yesterday or today, then it's however long it takes them to turn it around on their end.
Mr. Kimmel, you're both a gentleman, genius and psychic...got my tracking number from SAE not 10 minutes after your response...Don't it figure! Next time directly from Kritzerland! Patiently, but eagerly waiting to hear these beautiful 3-track analog masters...
|
|
|
|
|
|
|
|
|
|
Oh boy! Oh boy! Oh boy! From what I've been hearing through the grapevine, this is going to be one the best sounding releases yet. Can't wait to hear this. I'll be hounding that poor mailman for certain. 
Kudos Bruce!
|
|
|
|
|
|
I, too, am hoping the overseas copies get their sooner than later - it's been a real crapshoot lately.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
