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Anyone happen to know if the 2 programs are, like Monsignor, mixed differently, or if they have the same mix (for the tracks they have in common anyway)?
Dan Wallin remixed the film cues for the original OST LP
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Anyone happen to know if the 2 programs are, like Monsignor, mixed differently, or if they have the same mix (for the tracks they have in common anyway)?
Dan Wallin remixed the film cues for the original OST LP
Thanks Jason!
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Any time
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Mr. Jack: Can't wait to hear this in better quality than the crummy-sounding MCA CD.
That CD of the MCA album was an early 1991 Varèse Sarabande release, and an awful one it was, too. In those days of woe, the Varèse team would do little more than transfer the LP vinyl record master to CD. That was standard operational procedure for many labels back then.
With producer/engineer Matessino working from pristine scoring masters, thirty-five years of neglect will be undone.
By the way, a new video release is also forthcoming:
https://www.blu-ray.com/news/?id=26766
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Posted: |
May 7, 2020 - 11:49 AM
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By: |
Nono
(Member)
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Mr. Jack: Can't wait to hear this in better quality than the crummy-sounding MCA CD.
That CD of the MCA album was an early 1991 Varèse Sarabande release, and an awful one it was, too. In those days of woe, the Varèse team would do little more than transfer the LP vinyl record master to CD. That was standard operational procedure for many labels back then.
With producer/engineer Matessino working from pristine scoring masters, thirty-five years of neglect will be undone.
By the way, a new video release is also forthcoming:
https://www.blu-ray.com/news/?id=26766
As far as the album is concerned, Varèse Sarabande worked with the very same album master.
If Mike Matessino hasn't used compression since it's an Intrada release, he has probably added his typical "touch" through EQ, especially in the lower register, which I don't particularly like.
I much prefer the days of "woe" when the work of the mastering engineers was more neutral. In those days, John Williams sounded like John Williams, Jerry Goldsmith like Jerry Goldsmith, James Horner like James Horner etc. Today they all sound like Mike Matessino.
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Thor:. I don't understand how someone could call the sound of the original Varese release 'awful'. I've enjoyed it for 25 years without even thinking for one second there's anything wrong with the sound quality. Sounds perfectly fine to me; has texture and identity. And I'll keep on enjoying it for the rest of my life.
So, you’re going to ignore this release and keep listening to the thirty-five year old CD?
If you enjoyed the sound of MCA’s vinyl records forty years ago (and E.T. the Extra-Terrestrial was the only one that held up well, and you had to get the European pressing to appreciate that fully.), then it all makes sense for you.
And by all means, keep enjoying that ‘78 double LP of Superman: The Movie. Mr. Matessino did what he could with transfers from the original studio tapes. But if the meddling’s too much, it’s too much.
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Oh please, don't let this thread become another boring 'Thornton doesn't like expansions' ding dong.
You really should resist threads about these things Thor. It's gotten so stale now.
Most John Williams fans will be VERY pleased at the prospect of NEW John Williams music and sparkling new sound, using the latest technology.
I know I am.
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That's beside the point.
We are getting to hear the actual film score for the first time, in addition to some 21st century spruced up sonics of that and the original LP.
Yes, there are plenty of other scores that require a clean up more, but the labels have to release what they are able to and what will sell.
If you don't want it, don't buy it. But stop pissing on every one else's parade.
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Posted: |
May 7, 2020 - 3:46 PM
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By: |
Nono
(Member)
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If you don't want it, don't buy it. But stop pissing on every one else's parade.
I'm not pissing on anyone's parade. I was supporting a good point made by Nono.
Thank you for the support, Thor!
I'm a bit surprised by some replies: since many here like the Matessino "touch", they should be able to hear his very distinctive sound, which is not in the original recordings.
The same can be said for most of the mastering engineers working today. When I listen to film music, I don't want to hear Mike Matessino, Chris Malone or James Nelson, but John Williams, Jerry Goldsmith or James Horner.
The work of Dan Hersch or Joe Gastwirt in the 80s and 90s was much less intrusive and better serves the music which sounded more natural and immediate.
I regularly buy the new editions, but actually rarely play them since most sound unnatural, and sometimes fatiguing, especially if compression has been applied.
I will buy The River, because it's one of John Williams finest scores and I trust Intrada, even if I may be bothered by Mike Matessino EQ in the lower register (and some of his other tricks).
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I'm really not understanding the dislike being leveled at MM's work. I think he's done wonders for just about every release he's worked on, especially the recent slate of Williams expansions. I actually feel better about the sound and cleanup of a new release before hearing one sample, just by seeing his name attached to the project.
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