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This recording is older now than the film was when this recording was new.
*GULP*
Yeah, I often do stuff like that in my head. Like it's now 44 years that STAR WARS has been released. That is the same amount of time that has passed between the release of STAR WARS in 1977 and the one of the original KING KONG, which was released 44 years before STAR WARS.
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I prefer the 1986 original CD over the louder remastering done for the Excalibur Collection reissue.
I didn't know they remastered it for the Excalibur Collection. Of course, as you point out, "re-mastered" by no means automatically means better sounding. There are remasters that sound much worth than the original release.
Now, sure, they're going to re-master it again for digital download, and might as well. Personally, I am happy with my "first edition".
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I didn't know they remastered it for the Excalibur Collection.
Yeah, and it's still available: http://store.intrada.com/s.nl/it.A/id.4529/.f?sc=2&category=2003
But since this "Excalibur Collection"-branded reissue itself is a shocking SIXTEEN years old now (my how time flies -- that's TWICE as long as it's been since their previous release of RIO CONCHOS!) I'd say it's a pretty good bet that they will revisit it in similar fashion to the other recordings they own outright... I suspect they aren't in any rush and will probably wait until the 2005 edition has sold out.
Yavar
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I bought Rio Conchos when it was reissued in 2013 and that was remastered. Islands in the Stream was reissued in 2005 and that was remastered, too loud for some. I would think we would see a bigger improvement in Islands considering its been longer. But Roger owns these re-recordings so it is not like it they have been neglected in a studio vault somewhere. And Roger got Goldsmith to conduct, can't beat that. I enjoy Rio Conchos, such a great theme.
It probably depends on whether Islands was a 16 bit digital recording or an analogue recording. There might be room for improvement on the sound though I've never been wild about the performance. Rio Conchos/The Artist Who Did Not Want to Paint topped it in *every* way. By the way it's Doug who owns Intrada and got Goldsmith to conduct both albums; Roger is great but works for him.
I kinda enjoyed the Intrada rerecording of ISLANDS IN THE STREAM, but always felt it was missing something that the actual film score had.
A vibrancy. A greater sense of immediacy. Maybe even a rawness.
The FSM score CD release closed the book on that title for me.
If I want to hear the music from that film, I will only ever play the FSM release.
Pretty much the same for me Kev, especially since the FSM includes that great 3 minutes of action which was too challenging for the Hungarian players and was omitted from the otherwise-complete Intrada recording. That said, I do occasionally play the Intrada and hold it up for HUGE historical significance, because it was Jerry's very first time revisiting his earlier music for album if I'm not mistaken. Recorded in 1986, it pre-dated not only Rio Conchos/The Artist Who Did Not Want to Paint for Intrada but also his Telarc albums and all his many Varese re-recordings. And he did it for his favorite of his own scores, with the director in attendance on the fifth day after spending four days recording their final collaboration -- Lionheart. So it's an important and special recording even if I prefer the film recording.
Yavar
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So to the people saying this was originally recorded in 16-bit, I'm not sure exactly where that information comes from and it might be incorrect.
I just received this release today and here is what the liner notes say:
"The recording was done with state-of-the-art digital equipment and Botnick performed all mixing, editing and mastering steps in the digital domain."
"Intrada is happy to bring a number of its earlier releases into the digital marketplace with brand new, completely re-edited and remastered presentations in 24bit digital audio (96kHz or 44.1kHz depending on the native sampling rate) prepared from the first generation original source elements.
If these elements were originally recorded in analog formats, we have transferred the source tapes into hi-res digital audio and created all-new masters.
When they were recorded in digital formats to begin with, we have kept all phases of each presentation from the initial transfers through mixing, editing and mastering in hi-res 24bit digital audio."
So, according to this description, it seems like Rio Conchos was actually recorded at 24bit in 1989? Unless that last sentence from Intrada is hiding that original elements could have been recorded in 16bit and TRANSFERRED in 24bit, etc.
For the people saying 24bit didn't exist, it actually could have as some DAT recorders could record in 24bit when they came out in 1987.
Also Yavar will be happy to know that his love of Goldsmith inspired me to purchase this with the two volumes of Goldsmith at 20th, Star Trek V, Dennis the Menace, and The Wind and The Lion.
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For the people saying 24bit didn't exist, it actually could have as some DAT recorders could record in 24bit when they came out in 1987.
I don’t believe that’s correct. I believe that the first 24-bit DAT recorder was the Tascam DA45HR, which was released in 1999 (demonstrations of it at professional audio shows took place in 1998).
Regardless, thank you for sharing the information from the liner notes! They provide some information but many questions still linger (e.g., why 96 kHz when the original was likely 44.1 or 48 kHz?).
I believe the earlier Nagra D could record in 24bit and I seem to remember reading somewhere that early DAT recorders could use limited external equipment to run the DAT tapes at twice the speed, which was the same technique that Tascam officially introduced with their DA45HR to achieve its 24bit recording.
I'll look around to see if I can find it.
Does anyone remember if it was described by Doug that Rio Conchos re-recording was in 16bit or was that just a technological assumption?
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Personally, I'm happy with lossless/CD quality. But if the labels are going to make a habit of telling me what I'm buying is inferior, and that something else "is the one to have" (as Intrada has just said about the new Rio Conchos), I might just say, "That's fine. You've convinced me CD quality is isn't worth investing in anymore, so I'll just stream from now on".
Understood - for me, my interest in discovering better-than-CD-quality audio stems from hearing LLL's most recent Home Alone release which was "(2’’ scoring masters containing 3-track mixes)... transferred, mixed and mastered at high resolution (96k/24bit)".
While listening to "Setting the Trap", there was a brief section where I heard a really phenomenal snare drum line that I had never heard before because it's buried deep in the mix - but it brought more depth to that music than I heard before so I was intrigued.
BUT - I still was able to do that using that CD with just some basic headphones, so I don't really think it's necessarily about the CD itself but the quality of the TRANSFER which will ALWAYS be the key and the starting point...
But here's the thing - the mix is also important and that may vary depending on the pressing. The 4-disc Anthology of Star Wars has a mix that favors higher pitches like the glockenspiel for "Empire Strikes Back", most noticeable for "Han Solo and the Princess".
Conversely, the Special Edition 2-disc release has a slightly different mix.
So, it really becomes a rabbit hole which is why I can't really place my trust in projects unless a serious amount of restoration, retransferring and mixing (with the original engineer if possible) is done.
And why shouldn't that level of quality be the standard when we're talking about a product (24bit audio) which is inherently ABOUT quality?
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Sooooooo...after all the confusing tech talk, I'll get the "new and improved" score, and enjoy it.
...BUT...
Is the rumor true that the next re-re-re-reissue will be BREAKHEART PASS, now that they have finally found the master STEREO tapes? 
Or did I mis-hear?
Ron Burbella
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