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A month and a half is “a few days”? I’ve never seen someone describe 45 as “a few” before.
Yavar
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For anyone whining about this release, try to think beyond your own collection to those of new fans, new interested listeners and how important it is to keep titles like this in print.
Who are all these new fans and new interested listeners you speak of?
I'll be getting a download of the new mastering, once it's available. I've only ever had the LLL two-fer.
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Sure! Maybe I should just do a section of listener-submitted questions for Doug, since you all know this Spotlight episode is happening but it hasn't been recorded yet. I'm already expecting it to be a long conversation so if people have specific questions I'll try to ask him.
Yavar
This is a really great idea! I'm glad that I discovered you through the Goldsmith podcast just a couple months ago - I had seen you around the boards as I have others but it's hard to know who is actually participating in the releases.
I bought this Rio Conchos CD knowing it was most likely to be 16-bit, but also because as of now I don't have any experience buying digital downloads other than a song from Wall-E on iTunes and friends' band's music on bandcamp.
To me the biggest challenge so far is making 24-bit digital releases THE STANDARD for soundtrack releases, along with digital booklets and having a very clear messaging campaign that it's the strategy moving forward.
It's important for people to know THIS IS IT, THIS IS DEFINITIVE. Soundtracks have been re-released after already being expanded (like "Die Hard"), because better elements became available - that's to be expected. But we're at the point now where we're used to technology so a really clear and strong case needs to be made for switching to 24-bit. Like, I would never expect there to be ANOTHER release of "Independence Day", as an example - that should be firmly, and definitively it, so to speak.
It's kind of like VHS to DVD to HD-DVD / BLU-RAY to Streaming...
- VHS was amazing because you had ANY access to a movie for the FIRST TIME.
- DVD was amazing because it was the first time you got to see a movie in HIGH QUALITY that matched the theatrical release dimensions (AND there were amazing extras).
- BLU-RAY was amazing because it was the first time you got to see a movie at a QUALITY THAT MATCHED your theater-going experience.
But now we're in the middle ground between 2K/4K/8K and the reality is that we've pretty much peaked in terms of video quality improving to a discernible level. Your generally educated-in-resolution-and-codecs people may NOTICE it, but the size of people's TV's combined with 1080p-2K is more than enough for people to FULLY ENJOY a movie and miss nothing other than it not being on a 60 foot screen with a large audience.
It's the same with audio now, but maybe worse - CDs have kind of been the gold standard and Vinyl has made a confusing comeback. So it's going to take a really concerted effort for labels to shift AND COMMIT to 24-bit digital releases if they don't want to make their customers feel like they're getting ripped off for buying a CD, AND there needs to be transparency about what the best quality can be.
Otherwise this runs the risk of basically trashing every pre-2020 (or 2015? Whenever 24-bit started to catch on...) release as obsolete.
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To me the biggest challenge so far is making 24-bit digital releases THE STANDARD for soundtrack releases, along with digital booklets and having a very clear messaging campaign that it's the strategy moving forward.
It's important for people to know THIS IS IT, THIS IS DEFINITIVE.
PCM 24-bit is not definitive, since 32-bit audio exists.
And there is also the DSD format, which may be better than PCM.
As far as Rio Conchos is concerned, there is no interest in upscaling a 16-bit / 48 kHz recording to 24-bit / 96 kHz, except for commercial reasons since "24-bit" is now a word which obsiously appeals to many customers.
I've certainly lost through this conversation if the original elements were recorded in 16-bit or 24-bit (I also don't even remember if they were recorded on analog or digital) but to your point, that kind of transparency is important.
If we knew that this re-recording of Rio Conchos was recorded as X, elements have been transferred at X, can therefore never be higher quality than X and therefore this release of Rio Conchos at X-quality is the best quality that can possibly be owned, then we can make a decision to buy.
But not having clear information will continue to hurt the 24-bit music market (if it's hurting at all).
It's kind of like THX sound - most people probably had no idea what it was, but they knew that when they saw that THX logo before their movie started, they could trust they'd be getting the best audio quality possible.
Labels should be working on that kind of branding AND delivering on it.
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Anyone know when and where the download will be up?
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As an interesting side note...
This recording is older now than the film was when this recording was new.
I remember enthusiastically buying the original 1989 CD edition of this. Then my excitement was that it was new.
Today, my excitement is that this CD is nostalgic, like it's a part of history.
It's curious how things turn!
Cheers
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As an interesting side note...
This recording is older now than the film was when this recording was new.
I remember enthusiastically buying the original 1989 CD edition of this. Then my excitement was that it was new.
Today, my excitement is that this CD is nostalgic, like it's a part of history.
It's curious how things turn!
Cheers
Yeah, goes to show how long some of us have been around. :-)
I remember when Intrada released a new recording of ISLANDS IN THE STREAM... that was my switch from LP to CD, and it was VERY unusual at that time to re-record such a classic film score.
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Yeah, goes to show how long some of us have been around. :-)
I remember when Intrada released a new recording of ISLANDS IN THE STREAM... that was my switch from LP to CD, and it was VERY unusual at that time to re-record such a classic film score.
Yes!
It was still early in my film score collecting days (I started seriously around 1985/6) and I passed up new titles by people like Barry and Goldsmith (titles like Lionheart), because I had very sparse funds and wanted to concentrate on the 60s/70s scores of Goldsmith, Barry, etc., more than their recent works.
Intrada's Islands In The Stream was only the 2nd CD I ever owned, after Silva's Damien—Omen II, my first CD (since rotted) and I loved it greatly.
In many ways, Islands In The Stream was the perfect purchase because it was reportedly Goldsmith's favorite of his own scores, genuinely brilliant, my kind of score, right in the period I was interested in, and it was going to sound brand new.
Same with Intrada's Rio Conchos.
London Symphony Orchestra? Man, that must have been expensive!
Now, both have passed from exciting because they're new, to exciting because they're nostalgic.
I feel young again remembering those sweet days.
Cheers
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Stephen Woolston: Yes!
It was still early in my film score collecting days (I started seriously around 1985/6) and I passed up new titles by people like Barry and Goldsmith (titles like Lionheart), because I had very sparse funds and wanted to concentrate on the 60s/70s scores of Goldsmith, Barry, etc., more than their recent works.
Intrada's Islands In The Stream was only the 2nd CD I ever owned, after Silva's Damien—Omen II, my first CD (since rotted) and I loved it greatly.
In many ways, Islands In The Stream was the perfect purchase because it was reportedly Goldsmith's favorite of his own scores, genuinely brilliant, my kind of score, right in the period I was interested in, and it was going to sound brand new.
Same with Intrada's Rio Conchos.
London Symphony Orchestra? Man, that must have been expensive!
Now, both have passed from exciting because they're new, to exciting because they're nostalgic.
I feel young again remembering those sweet days.
Cheers
Stephen, my first compact disc purchase was Somewhere in Time.
As a big fan of the Kritzerland Rio Conchos, as well as The Artist Who Did Not Want to Paint, and having never owned this particular recording, I was so thrilled by the samples I couldn't wait for the download and ordered immediately. Plus, I want the album notes.
Is that Islands in the Stream CD still available?
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) dip with the new one it would be nice to hear, if the remaster would justify to buy it again.
