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As I mentioned long ago Stylotone wanted the mastering of TWISTED NERVE and all their work to be done by Sean McGee, who did the Beatles re-mastering, at Abbey Road. Most of the labels said that is too pricey. The only ones who said okay were this vinyl company and it is Stylotone who keeps insisting a CD be a part of the package. Universal had been the stalling point, as to why these have been taking so long.
Just to be clear here - no one is complaining about the mastering. If anyone has said it could sound better that is based on the source used by them, when there is clearly another source available. I'm gonna compare again, just for fun.
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So just to clarify Bruce, you're saying this is a Digitmovies Providence sort of situation, where the label seems to be using poorer sources *before* mastering than you have access to yourself?
Yavar
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So just to clarify Bruce, you're saying this is a Digitmovies Providence sort of situation, where the label seems to be using poorer sources *before* mastering than you have access to yourself?
Yavar
I can't really say more, other than I know what the differences are, and while they may not seem significant, that depends on one's ears.
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I'm puzzled how come this isn't on Stylotone's own website.
Bizarre.
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I'm puzzled how come this isn't on Stylotone's own website.
Bizarre.
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Now if only the reviewer knew how to properly spell Benny's last name...
Yavar
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Has anyone actually READ this "review." He doesn't seem to actually own the package - perhaps they sent him an advance of the CD? Or is he just making it up as he goes along. Reading this tripe is like reading certain track descriptions on certain CD releases 
"From the moment you listen to the opening bars of Prelude and the self-titled track, a clean, polished and refined sound gently but robustly enters into your speakers. With delectable swirling strings and spiralling horns merging into one powerhouse sound, conveying unforgettable patterns of alluring and delectable instrumentals, this is precisely the sort of soundtrack that fits perfectly to backtrack the movements of Hedren and Connery."
It's like a parody, really.
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Has anyone actually READ this "review." He doesn't seem to actually own the package - perhaps they sent him an advance of the CD? Or is he just making it up as he goes along. Reading this tripe is like reading certain track descriptions on certain CD releases
"From the moment you listen to the opening bars of Prelude and the self-titled track, a clean, polished and refined sound gently but robustly enters into your speakers. With delectable swirling strings and spiralling horns merging into one powerhouse sound, conveying unforgettable patterns of alluring and delectable instrumentals, this is precisely the sort of soundtrack that fits perfectly to backtrack the movements of Hedren and Connery."
It's like a parody, really.
Hello Bruce. Can't speak for others, but the review is irrelevant as far as I'm concerned (and yes, the text does seem the work of a unrepeantent shill - a bit like a lot of movie reviews these days).
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"From the moment you listen to the opening bars of Prelude and the self-titled track, a clean, polished and refined sound gently but robustly enters into your speakers. With delectable swirling strings and spiralling horns merging into one powerhouse sound, conveying unforgettable patterns of alluring and delectable instrumentals, this is precisely the sort of soundtrack that fits perfectly to backtrack the movements of Hedren and Connery."
Sounds like a student of Julie Kirgo.
Hahaha! On the nose!
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Posted: |
Mar 29, 2019 - 12:43 AM
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By: |
chriss
(Member)
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"From the moment you listen to the opening bars of Prelude and the self-titled track, a clean, polished and refined sound gently but robustly enters into your speakers. With delectable swirling strings and spiralling horns merging into one powerhouse sound, conveying unforgettable patterns of alluring and delectable instrumentals, this is precisely the sort of soundtrack that fits perfectly to backtrack the movements of Hedren and Connery."
From the liner notes for "The Vanishing"
"The standout exception to the critical bucket of tar justifiably over The Vanishing is Jerry Goldsmith's score. It is everything the film is not: intelligent, psychologically acute, a searing, soaring work of art. An extraordiary, unsettling fusion of orchestral and electronic music - a perfect blend to suggest the thematic interweaving of human and what we prefer to think of as inhuman impulses - it is a score that becomes more complex, more intricate, more unnerving with every listen."
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