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I finally listened to this release. I hardly ever bitch about a release from another label. I love Intrada like a brother, but I really am disappointed with Disc one. Rocketeer is one of my favorite scores of all time, but disc one feels like all the passion has been sucked out of the recording. It's almost muffled. It's like a stack of sweaters were on top of my speakers. I'm straining to hear something and my ears are 18 inches from the speakers. What gives?
I want to cry right now.
MV
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So maybe they will do another re-issue a-la Dressed to Kill? 
No. We discussed this on the Intrada forum and the vast majority stated they wanted it like it was presented, once they understood the engineering decision. I do have to say I am baffled by the comments though. I was just blasting Flying Circus in my car this morning and the bass drum hits caused my car to rumble, the screaming brass were exhilarating. It was just full on! I didn't hear anything that sounded like it lacked passion, was lifeless, etc. I just don't hear it!
And I was one of the first to admit that Dressed to Kill was just too dry and we needed to add some reverb (not drown it out like the Varese, but a happy medium).
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So maybe they will do another re-issue a-la Dressed to Kill?
I was just blasting Flying Circus in my car this morning and the bass drum hits caused my car to rumble, the screaming brass were exhilarating. It was just full on! I didn't hear anything that sounded like it lacked passion, was lifeless, etc. I just don't hear it!
But Roger, a car stereo is a very different experience from how most people listen to their music - with really good equipment or really good headphones. When someone else in the biz like you says they wanted to cry, perhaps there's something worth looking into. (And to echo MV, I love, love, love Intrada. Not trying to start anything here, please believe me, but I for one will await how things fall into place or don't before I pick this up. It was on my Wish List at moviemusic.com.)
Otherwise, a huge congrats on some incredible releases, not the least of which of course is the massive, wonderful THE TEN COMMANDMENTS.
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So maybe they will do another re-issue a-la Dressed to Kill?
I was just blasting Flying Circus in my car this morning and the bass drum hits caused my car to rumble, the screaming brass were exhilarating. It was just full on! I didn't hear anything that sounded like it lacked passion, was lifeless, etc. I just don't hear it!
But Roger, a car stereo is a very different experience from how most people listen to their music - with really good equipment or really good headphones. When someone else in the biz like you says they wanted to cry, perhaps there's something worth looking into. (And to echo MV, I love, love, love Intrada. Not trying to start anything here, please believe me, but I for one will await how things fall into place or don't before I pick this up. It was on my Wish List at moviemusic.com.)
Otherwise, a huge congrats on some incredible releases, not the least of which of course is the massive, wonderful THE TEN COMMANDMENTS.
That was just how I was listening to it this morning. I also listen to it on my high end system in my living room and it sounds fine to me. And it certainly sounded fine on the studio monitors in the studio. Still don't hear problems.
As someone in the biz, I was surprised by MV's comments because I would have thought he'd understand the impact of dynamic range on mastering.
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Personally, I really enjoy the Intrada release of The Rocketeer. The recording is certainly full of life.
It is mixed quietly in many places, but that's reflective of the music itself I think.
There are times when the thunder pokes out from the rest of the music, so that leaves either of two options:
1. Lower the overall volume, so that the moments things get loud for a moment have room to do so (aka preserve the dynamic range).
2. Compress the dynamic range so that quieter parts are louder, and the louder parts are quieter in relation (the Car / Radio mix).
MV, some have noticed that LLLR makes use of option 2 on many of their releases, as do Varese, and you guys do it in a nicely judged way.
But I'm not going to slam Intrada for doing option 1. To me it reflects how the music was supposed to sound, and that dynamic range is part of where the power comes from in those momentary loud punches.
It is my personal preference as a default to go for option 1.
This is one of those areas where there is no perfect hard-and-fast answer, so I guess the best approach is to take it on a score-by-score basis to a degree, and where option 2 is invoked, it should be with restraint.
This is from a listener, and not an engineer with any expertise. So you guys tend to know best how to approach these things.
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DB
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Well, obviously MV just needs to switch cars with Roger. Obviously.
EDIT:
Crappy quick jokes are thought about too much sometimes.
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Personally, I really enjoy the Intrada release of The Rocketeer. The recording is certainly full of life.
It is mixed quietly in many places, but that's reflective of the music itself I think.
There are times when the thunder pokes out from the rest of the music, so that leaves either of two options:
1. Lower the overall volume, so that the moments things get loud for a moment have room to do so (aka preserve the dynamic range).
2. Compress the dynamic range so that quieter parts are louder, and the louder parts are quieter in relation (the Car / Radio mix).
MV, some have noticed that LLLR makes use of option 2 on many of their releases, as do Varese, and you guys do it in a nicely judged way.
But I'm not going to slam Intrada for doing option 1. To me it reflects how the music was supposed to sound, and that dynamic range is part of where the power comes from in those momentary loud punches.
It is my personal preference as a default to go for option 1.
This is one of those areas where there is no perfect hard-and-fast answer, so I guess the best approach is to take it on a score-by-score basis to a degree, and where option 2 is invoked, it should be with restraint.
This is from a listener, and not an engineer with any expertise. So you guys tend to know best how to approach these things.
You nailed it. This was about preserving the natural dynamic range (like all those famed Mercury Living Presence recordings from time long past!). So yes it may sound quieter because of that. That's why we included the original program for people who prefer the compressed range.
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Well, obviously MV just needs to switch cars with Roger. Obviusly.
Not if you read my post above.
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You nailed it. This was about preserving the natural dynamic range (like all those famed Mercury Living Presence recordings from time long past!). So yes it may sound quieter because of that. That's why we included the original program for people who prefer the compressed range.
Thanks, Roger, for the explanation. Incredible that nowadays with so many different ways to listen to an album, we have to look at different ways to master them. Not unlike (to a certain degree, although the comparison is rough, to be sure) creating web content that will work well on a PC, a Mac, an iPhone, and an Android phone.
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We'll have to agree to disagree on this one, Roger. Perhaps some day you'll take me for a ride in your car and we can listen to it together...a long car ride that will most likely end with a stop in the woods and a shovel you have for me in your trunk. Lord knows I probably deserve it.
Overall, though, the package is fantastic and the presentation perfect. Just wish that sound was tweaked.
MV
PS 10 Commandments is perfection.
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We'll have to agree to disagree on this one, Roger. Perhaps some day you'll take me for a ride in your car and we can listen to it together...a long car ride that will most likely end with a stop in the woods and a shovel you have for me in your trunk. Lord knows I probably deserve it.
Overall, though, the package is fantastic and the presentation perfect. Just wish that sound was tweaked.
MV
PS 10 Commandments is perfection.
Don't get wrapped around the example of my car, as it sounds fine to me in other venues. But it's funny, you and I have a definite different preference in mastering. I prefer the Cutthroat Island mastering on Prometheus because of the natural dynamic range (although they used too much noise reduction which damaged the high end) over the LaLa recent release because of the compression used that makes it all too loud for me, even though it has a nice crisp high end missing from the Prometheus.
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Coincidentally I also listened to The Rocketeer in my car this week... and I thought it sounded great - no complaints about sound quality at all on this end.
I'm more concerned by the odd programming choice to put the pop songs, source music, and concert arrangement intermingled into the main program, instead of after the end credits as bonus tracks. Especially since doing so caused me to have to take out Disc 1 and put in Disc 2 to finish the main program.
I understand that Horner was proud of the pop song arrangements, but moving them to the end of the second disc would have let his entire glorious score (including the source cue and concert arrangement) fit on one amazing disc of awesomeness. And Disc 2 could have had the classic OST presentation start right on Track #1.
Oh well.
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