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I loved the DE, but the Quartet is better. In addition to the improved sound (not that the OST or the DE sounded bad), the additional material is very interesting.
The additional material was interesting enough for me to have listened to it, but not interesting enough to warrant the extra money to listen to it over and over, which would be my motivation for buying it. As far as listening to the score goes, it does not improve on the Verése at all.
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Try comparing the two performances on your car speakers, WA...lol.
Yavar
That's actually a pretty cool idea, Yavar. I'm going to take you up on it...but instead on my computer, with ear buds.
And I still am kind of blown away that you don't own a decent pair of headphones, you could get SO much more out of your obviously wonderful collection. There really are things in your music collection you have probably missed...really.
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The additional material was interesting enough for me to have listened to it, but not interesting enough to warrant the extra money to listen to it over and over, which would be my motivation for buying it. As far as listening to the score goes, it does not improve on the Verése at all.
I'll stick with the Varese.
I'm definitely in the "fan" box of Total Recall, to me it was one of JG's best action scores, even when compared to a Giant like Wind and the Lion. And one of the main reasons is how different they are.
I'm still a bit ignorant as to JG's entire catalogue, however from what I've heard he started really mastering the integration of the synthesizer around the time of Lionheart, and it came to a sophisticated (yet rockingly punchy) head on TR. TR is sooo tight (in the decidedly good way). Nothing is out of place, yet the edge is there.
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I think he mastered the integration of synth much further back -- Damnation Alley and Star Trek: The Motion Picture are both indisputably incredible! But, while I won't say that he "unmastered" it exactly, I will readily admit that I didn't care for some of his synth choices later on...particularly many in the 80s like the Rambo "synth farts" or some of the weird things in Legend, which is otherwise a masterpiece.
Yavar
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And I still am kind of blown away that you don't own a decent pair of headphones, you could get SO much more out of your obviously wonderful collection. There really are things in your music collection you have probably missed...really.
I think that if money wasn't an issue, I'd be much more of an audiophile. As it is, I can tell oftentimes when a new mastering is an improvement (ie. the Quartet Basic Instinct removes a hum present on the Varese and Prometheus issues, and I noticed that right off without needing fancy equipment). But overall I'm much more attuned to:
first, the composition
second, the performance
Mastering and recording sound quality is certainly something I care about too, but the other two take precedent. That probably comes from years of loving Golden Age scores in their original recordings, to say nothing of some classical recordings that remain the best even if they're not in amazing modern sound.
Yavar
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I regret not keeping the first Varese, since it was edited nicely.
But then, I might only be USED TO those edits.
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I regret not keeping the first Varese, since it was edited nicely.
But then, I might only be USED TO those edits.
Don't usually do this, but kept both Varese editions along with the Quartet. Loved the old blue cover first edition.
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But the Quartet has the blue cover, *and* it replicates (with better sound) the original album on the second disc! 
Yavar
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I think he mastered the integration of synth much further back -- Damnation Alley and Star Trek: The Motion Picture are both indisputably incredible! But, while I won't say that he "unmastered" it exactly, I will readily admit that I didn't care for some of his synth choices later on...particularly many in the 80s like the Rambo "synth farts" or some of the weird things in Legend, which is otherwise a masterpiece.
Hahaha, Rambo synth farts!! Can you imagine if dubstep were around back then? His music would probably be littered with random drilling and lawnmower sounds. I'm glad he toned down his electronics during the 90's and later, though he still managed to surprise me with that ugly synth shepherd's horn in Timeline. Sounds like a broken saxophone on a broken record player.
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I'll admit it wasn't I who coined the term for those Rambo synths...but I'm not sure who did.
Yavar
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