|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This is a comments thread about FSM CD: Ben-Hur |
|
|
A composer in Wales called Gaetano Malaponti started a blogspot for synthesised versions of the 'never-recorded' cues in Ben-Hur. He's put the whole thing on hold at the mo, until the new FSM material comes out I think, but a few pieces like 'His Father's Business' are already up: http://ben-hur-unused-music.blogspot.com/ He can play properly!
|
|
|
|
|
|
|
|
I'm a mere dilettante, Basil. R. Erkelenz, Frank deWald, Mark Koldys, George Komar and others are far better qualified.
|
|
|
|
|
I have to say the packaging is terrible. It took the patience of Job to get CD 2 released. Now the plastic part holding CDs 1 and 2 is unmoored and can't be put back into the plastic case and the front plastic piece is falling out. I am very disappointed with this. Why put all this effort and money (and ask us to pay good money) for something like this and have its storage/packaging so unusuable? Son, you are preaching to the choir. I've yet to be able to get away from work, but I will Thursday, and I will demand a new case and inlay. Otherwise the whole mess goes BACK exactly as it lies now, with a demand for a full refund. Pathetic.
|
|
|
|
|
dp
|
|
|
|
|
I've listened to first 3 cds and they are magnificent and I have all the older cds and lps (except Kloss album 1) of Ben-Hur. When I was 14 (Nov 1959) I bought the Ben-Hur deluxe edition and wore it out . And I thought the Rhino set was the ultimate until now.Thank you Lukas and don't let them bother about the jewel box. We should be grateful all of you took the time and effort to produce this great set.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
My set works fine. And the music, which is what really matters, is positively glorious. A tremendous production; my thanks to all involved. Having never owned HUR on disc before (I have a copy of the Savina album on vinyl, the one with the book), I can't imagine a better addition to my collection.
|
|
|
|
|
|
|
Posted: |
Feb 29, 2012 - 10:08 AM
|
|
|
By: |
siriami
(Member)
|
The "long book" was also released in Europe by Sony. They released both that version, with the excellent book, as well as a version in a double jewel case which contained a 24 page edited version of the book. I only ever saw the long version on import (in HMV where I bought it), I know a single disc version was released in the UK, around 70 mins. edited down by David Wishart, which is the version I tend listen to. Funny, but it doesn't say anywhere on it that it's the original score, so the casual buyer wouldn't know it's any different from the album. You are right, Doug - I recently saw a copy of this "long book" version in one of the Glasgow HMV's - wonder why Sony made both of them available? And @ CinemaScope - it was odd of EMI (well, not really, given their track record of issuing - or not - US releases on their own label over here) to make a cut-down version of the Rhino/Turner Ben Hur CD for us Brits! (I do miss David Wishart though - he was a real gent!) Alistair
|
|
|
|
|
|
|
|
Anyone who doesn't have the Rhino book, should really think about getting it. It's very well-produced and informative. A nice companion piece to FSM's new edition. And it should be readily available and cheap, too. Just my two cents.
|
|
|
|
|
The "long book" was also released in Europe by Sony. They released both that version, with the excellent book, as well as a version in a double jewel case which contained a 24 page edited version of the book. I only ever saw the long version on import (in HMV where I bought it), I know a single disc version was released in the UK, around 70 mins. edited down by David Wishart, which is the version I tend listen to. Funny, but it doesn't say anywhere on it that it's the original score, so the casual buyer wouldn't know it's any different from the album. You are right, Doug - I recently saw a copy of this "long book" version in one of the Glasgow HMV's - wonder why Sony made both of them available? And @ CinemaScope - it was odd of EMI (well, not really, given their track record of issuing - or not - US releases on their own label over here) to make a cut-down version of the Rhino/Turner Ben Hur CD for us Brits! (I do miss David Wishart though - he was a real gent!) Alistair I had a look in the Edinburgh Princes St. HMV on Monday 27th as I was passing. Couldn't see anything at all by Miklós Rózsa in the "Films & Shows" CD section. No Ben-Hur (any version); No El-Cid - nothing. "Braveheart" was there of course (by order of the Scottish Government?).
|
|
|
|
|
|
I had a look in the Edinburgh Princes St. HMV on Monday 27th as I was passing. Couldn't see anything at all by Miklós Rózsa in the "Films & Shows" CD section. No Ben-Hur (any version); No El-Cid - nothing. "Braveheart" was there of course (by order of the Scottish Government?). I'm guessing you remember the 'Eazy Rider Record Exchange' on Forrest Road and HMV as it used to be. HMV was once Edinburgh's largest mainstream outlet for classic releases in the days when Varese Sarabande was chief player.
|
|
|
|
|
I had a look in the Edinburgh Princes St. HMV on Monday 27th as I was passing. Couldn't see anything at all by Miklós Rózsa in the "Films & Shows" CD section. No Ben-Hur (any version); No El-Cid - nothing. "Braveheart" was there of course (by order of the Scottish Government?). I'm guessing you remember the 'Eazy Rider Record Exchange' on Forrest Road and HMV as it used to be. HMV was once Edinburgh's largest mainstream outlet for classic releases in the days when Varese Sarabande was chief player. I don't remember Eazy Rider. I do remember Phoenix and GI and "I saw it at TORS" though. Back in the day I was probably still buying Saxon and Iron Maiden. The nearest I got to classical then was ELP (Keith Emerson has done film scores since!) and Aria Records in Dundas Street - but mainly because they had a Keith Monks record cleaning machine.
|
|
|
|
|
Anyone who doesn't have the Rhino book, should really think about getting it. It's very well-produced and informative. A nice companion piece to FSM's new edition. And it should be readily available and cheap, too. Just my two cents. I've seen a comment on an earlier thread about the Sony Classical reissue(s) of the Rhino set (both the "long book" and jewel case versions), which states (actually about a different Rhino title "How the West Was Won" re-released by Sony) , that the Sony version is "cleaner" and "less hissy" than the Rhino, as if this were a good thing. Well I may well act like a hissing rhinocerous and charge Sony for "no-noising" when re-mastering. That just removes the top end detail too - for this is where the hiss is, along with the 'breath' of the music. How many here realised back in the day of home cassette recording that the music sounded better if you didn't use Dolby NR (nothing to do with Dolby Stereo/Surround/Digital)? It's exactly the same as removing film grain for a new Blu-Ray mastering and removing some of the very High Definition that it's supposed to be all about ("Spartacus")! So, I wonder has any completist fan with a quality Hi-Fi system compared the two for sound quality and maybe even all three (i.e. including the FSM set)? Otherwise this is going to bug me.
|
|
|
|
|
|
.....The inter-track studio ambience was and is a novel idea..... The idea of adding studio ambience to the inter-tracks may well be a novel concept in its application to CD music, but Marilee Bradford is an old pro and I feel certain she was fully aware of and knowledgeable about this kind of thing, particularly when applied to dialog tracks, going as far back as 1930s optical sound film recording and then later magnetic recording. Every recording stage, actual room, soundstage set, camera set-up scene angle, or outdoor location has its own ambient sound, and in order to intercut the dialog tracks successfully, you need to record this ambient sound to "slug" the gaps between sentences, phrases, or words when you are intercutting camera angles. For all of my years in the business, and probably 35 years before, this "ambient sound" was called "room tone". And so, usually each day, the sound man would ask for quiet from everyone on the set while he recorded a minute or two sound master of "room tone" in that set or location, usually slating it with the specific location and/or scene for later ID purposes. He would always have to say something like, "Start Room Tone.....Silence Please," and then roll the tape, and then, at the end, say, "End Room Tone," or else a sound editor would simply think the track was blank. Eventually, back in editing, the "room tone" piece for each sequence would be duplicated as much as necessary to intercut into the dialog so that the dialog sounded complete as one piece. Otherwise, the sound was choppy. Although a layman would think this material was silent, believe me, you can easily tell the difference between the silence recorded on the set, and the true silence of blank leader filling out the soundtrack, and it's very jarring when contrasted and played over those big studio speakers in the mixing room. I believe Ray Faiola has often been doing this as well---adding ambience to the track breaks---with a number of the archival BYU/SAE releases where his big problem is often the inherent "ambience" of the studio acetates he is working with---many of which have their own set of sound problems. All in all, it's a very time consuming process, but it's done in the interest of a better sounding, and consistent quality, product. I don't want no stinkin' room tone between tracks. Get yer stinking pause off me you damned dirty tape!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|