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Apart from some audible deterioration, the 3-track isolated score in DTS-MA on the blu-ray sounds fantastic.
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Wow, CH-CD, thanks for that info. I have the UK Brunswick edition and never noticed those differences!
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To Stephen Pickard:
I have to disagree. The music in the actual film sounds much brighter. The isolated track chops off much of the high end and emphasizes the mid-range frequencies too much.
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TO CH-CD
Do you have the original Decca LP? Do those differences you mentioned also appear between the 1956 Decca and Brunswick pressings, or only between the 1956 Brunswick pressings and the later Varese LP/CD pressings?
I ask because I never had the original Decca LP (I only had the UK Brunswick LP), and would like to know how much the Decca LP and the Varese re-issues differ.
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In case no one knows, the FOX records -- mono and stereo -- have, I believe 3 or 4 bands which are different from each other...some longer on one and shorter on the other...and vice versa...I canna remember exactly, so check it for yourself...
There is more music on the stereo LP. I don't know why.
FWIW: There is more music on the Capitol Records stereo issues of "The King and I" and "Carousel" than on the mono issues.
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To Joe Caps:
I can't find anything (as far as Newman cues), that are on the isolated track of the Blu-ray that are not in the actual film. Yes, there are are few moments where cues are faded in or out earlier, but there are no cues that appear on the isolated track that are TOTALLY missing in the actual film. The most truncated cue in the movie itself is when Bergman recognizes "Nini," her mother's lady-in-waiting (about 30:00 into into the film). In the film, the beginning of the cue is left out then then dialed up after about 15 seconds. On the ISO track, you get it in full.
There are a few other moments where the ISO track goes on a tiny bit longer than in the film itself, but these are not Newman compositistions.
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Posted: |
Apr 1, 2016 - 6:08 PM
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By: |
CH-CD
(Member)
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I knew it was one way or other. Mistakenly assigned the stereo LPs as the ones having more music.
In "The King I", there is a missing musical bridge on the stereo version of "Getting to Know You" that exists on the mono LP (and in the film, naturally).
In "Carousel", the mono has a complete waltz whereas the stereo has the first part of the walts missing.
Sigh.
There is another famous Mono/Stereo omission, Ron.
On the Capitol STEREO LP of “High Society”, in the “Well, Did You Evah?” number, after Frank’s retort... “Don’t Dig That Kind of Crooning,Chum”, Bing’s spoken reply “You Must be One of the Newer Fellas?” is missing. It was on the original MONO pressing.
Likewise, in the original MONO pressing of “GIGI”, the title song has a different recording to the later, STEREO LP.
On the Mono, Louis Jourdan sings the first few bars. On the STEREO, his delivery is more spoken.
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To Stephen Pickard:
I have to disagree. The music in the actual film sounds much brighter. The isolated track chops off much of the high end and emphasizes the mid-range frequencies too much.
Thanks Jim, I'll have another listen.
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To Stephen Pickard:
I have to disagree. The music in the actual film sounds much brighter. The isolated track chops off much of the high end and emphasizes the mid-range frequencies too much.
Thanks Jim, I'll have another listen.
Hi Jim. I watched the film again this morning, switching from the 5.1 to the isolated score, and apart from a piece of classical music - when they attend a concert - that does sound rolled off, my opinion doesn't change much.
While I appreciate, and you have a right, to your opinion, I feel there are a few variables that may affect our judgement. Firstly, from what I've experienced with '50's Fox films the raw music track does seem to go through quite a change in character when it goes to the final mixing stage, whether it be eq. etc., I don't know. Also the US music tracks were played back on UK reproducers (which shouldn't bear any change as UK audio engineers would have knowledge on how to reproduce foreign recordings, quite common).
The score was recorded in LCR long shot and close shot and levels against one another may vary in final mixing depending upon the dramatic demands of the film. Presumably when the music tracks were transferred in recent years for archiving purposes they were combined presumably at a fixed equal level.
Putting all this information aside, I am not saying this has any bearing on your opinion, I would find it difficult to come up with a fixed general opinion as you have. Seeing that you are an audio engineer you have obviously more sensitive ears.
I do have audio experience, but only in the audio transfer area. But I do credit myself with a little knowledge of how good or bad audio sounds but obviously nowhere near your level.
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Diegetic? Oh, not again. Surprised at you, John.
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