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is this the staright re-issue (albeit remastered) of the old mercury lp or is it re-issue of the Varese expanded cd set?
No idea, the mentions of it all over the internet are all maddeningly vague.
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According to another poster here at FSM years ago:
"Because the original elements didn't survive the last restoration.
Story goes that the tapes were really fragile and, even after baking, were disintegrating as they were going through the digitisation machine."
So, unless new tapes have been miracuously found, I'd count on a re-issue.
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Yes, I know a lot of what gets said is apocrypha, but I seem to remember reading this on an official restoration blog or something like that.
Maybe, if there's a surviving ALBUM master, there may be a remaster of the album in the works.
But I guess we'll just have to wait and see.
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Shame, guess I'll stick with my Varese CD of Vertigo.
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I think for Milan, remaster means we found an old master that works and we're going to use that again. I wouldn't be surprised if it is bit-identical to the Mercury CD. Actually I take that back, they'll probably take the Mercury master and apply some dynamic range compression to it, because louder is better.
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Does the Mercury master have any merits over the Varese CD?
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Does the Mercury master have any merits over the Varese CD?But
The original Mercury master was exquisite and audiophile. But this may be an LP transfer.
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Does anyone have it and can anyone confirm if it has audio fidelity equal to the Mercury master?
Believe it or not, even though I have the Varese expanded OST, the McNeely recording, the Conlon recording and of course the concert suite, I would be interested in this title if it does have superior fidelity to the same tracks on the Varese.
Cheers
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Does anyone have it and can anyone confirm if it has audio fidelity equal to the Mercury master?
Believe it or not, even though I have the Varese expanded OST, the McNeely recording, the Conlon recording and of course the concert suite, I would be interested in this title if it does have superior fidelity to the same tracks on the Varese.
Cheers
I always liked the selection of VERTIGO tracks on the Mercury album. I've just received the Milan CD and in a quick comparison I'd say it sounds exactly the same as the Mercury CD. It includes some of the previously released Milan Bernstein conducted recordings of PYSCHO, THE MAN WHO KNEW TOO MUCH, NORTH BY NORTHWEST and THE WRONG MAN. The two pages of notes are all in French. The CD is distributed in France by Universal Music and in the rest of the world by Warner Music.
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So, this fifty year malarky is still going on, have I got that right? They still think they can do stuff from Fox's Jane Eyre, do they?
As I have said before and I'm saying again - loudly - this, my European friends, is a two-way street, because if you can do it, we can do it, too. Oh, yes, we can do it, too. And that includes ANY old CAM release of any soundtracks pre 1964, yes?
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So, this fifty year malarky is still going on, have I got that right? They still think they can do stuff from Fox's Jane Eyre, do they?
As I have said before and I'm saying again - loudly - this, my European friends, is a two-way street, because if you can do it, we can do it, too. Oh, yes, we can do it, too. And that includes ANY old CAM release of any soundtracks pre 1964, yes?
I guess it's not a two-way street, because it has nothing to do with where the recording was made/issued. All pre-1963 recordings are public domain in the EU (that is if they haven't been released for the first time legitimately within the fifty year frame). I'm not a lawyer for US copyright, but these recordings (irregardless of where they were recorded or first issued) should still under copyright in the US. That leaves us with the question if any of the European copyright holders would care if you issue their recordings. The past has shown that many recordings have been issued illegally (like the Leroy Holmes UA albums) and nobody cared...
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So, this fifty year malarky is still going on, have I got that right? They still think they can do stuff from Fox's Jane Eyre, do they?
As I have said before and I'm saying again - loudly - this, my European friends, is a two-way street, because if you can do it, we can do it, too. Oh, yes, we can do it, too. And that includes ANY old CAM release of any soundtracks pre 1964, yes?
I guess it's not a two-way street, because it has nothing to do with where the recording was made/issued. All pre-1963 recordings are public domain in the EU (that is if they haven't been released for the first time legitimately within the fifty year frame). I'm not a lawyer for US copyright, but these recordings (irregardless of where they were recorded or first issued) should still under copyright in the US. That leaves us with the question if any of the European copyright holders would care if you issue their recordings. The past has shown that many recordings have been issued illegally (like the Leroy Holmes UA albums) and nobody cared...
It's a two-way street. If a recording issued in the US is fair game in Italy, France, or wherever, then a recording made in Italy, France, or wherever is public domain here - it wasn't copyrighted here in the first place. I don't have to be a copyright lawyer to know this, it's just common sense. It can't be okay for them and not okay for us. Obviously we can't release things under copyright HERE - but a law that can be used to benefit those in Europe can also be used to benefit those in the US.
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