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OH, you've probably made his List, just under James Southall.
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Happy to report THE WIND has made its way through the trees of sleepy hollow so everything is on its way. I expect this shipment to arrive at my doorstep, via carriage delivery, quite soon.
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100% incredible presentation - the music is as captivating as I remembered it to be. I can't imagine what a contemporary take on this film would be and I'm glad I don't have to.
Good stuff out of the way, I've noticed this score seems to be extremely noisy. Disc 2 is particularly bad and I stopped keeping track, but there are a lot of pops/crunches.
I first noticed this on D2T1 "Introduction" at 2:23, there is a pronounced crunch, like a footstep on a dry leaf.
D2T3 "The Story... (Revised)" has like crunching grass at 1:13, 1:13, squeaking leather shoe at 1:18, 1:20, more crunching at 3:00.
I started to wonder if this audio was ripped from an isolated music track from the DVD / Blu-Ray?
Other sounds are everywhere and just sound like orchestra noise, but to the max - perhaps not unheard of because this score has so many odd string effects, but it's the noisiest score I've ever heard:
D2T3 "The Story... (Revised)"
Orchestra noise 1:30, 1:34, 1:35, 1:37, 1:40
D2T4 "Masbath's Terrible Death"
Orchestra noise 0:07 - 0:14, 1:32 - 1:36
D2T5 "Murder"
Orchestra coughing 0:52 - 0:56
Is anyone else hearing this? Does anyone know why this score is so noisy? I'm assuming it's because a lot of the string effects are very subtle and the amount of layered strings was probably killer to mix.
But what about the crunching/footsteps sounds? Those don't have the ambience of the scoring stage and sound like the audio track from the film itself. So odd.
Also, the CD arrived super crunched in the back with pieces broken off and loose CD, so I'm hoping the CDs themselves didn't get some weird errors.
Otherwise, an outstanding set with all the material on it. Such a goldmine!
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Good stuff out of the way, I've noticed this score seems to be extremely noisy. Disc 2 is particularly bad and I stopped keeping track, but there are a lot of pops/crunches.Is anyone else hearing this? Does anyone know why this score is so noisy? I'm assuming it's because a lot of the string effects are very subtle and the amount of layered strings was probably killer to mix...
...But what about the crunching/footsteps sounds? Those don't have the ambience of the scoring stage and sound like the audio track from the film itself. So odd.
Well I think now is a good time to resurface my previous comment again, because I am also hearing a ton of noise all throughout Disc 2, like abnormally loud orchestra noise + additional noise that almost seems like its from the film's audio track.
Is the Disc 1 repressing a replacement? Do we know anything about the noise I'm mentioning?
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D2T3 "The Story... (Revised)"
Orchestra noise 1:30, 1:34, 1:35, 1:37, 1:40
D2T4 "Masbath's Terrible Death"
Orchestra noise 0:07 - 0:14, 1:32 - 1:36
D2T5 "Murder"
Orchestra coughing 0:52 - 0:56
Weren't you the one who wanted all the bells and whistles on these expanded releases? Now here you go, you are also getting coughing orchestra members 
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I ordered a lot of CDs from Music Box Records yesterday, but could not order SLEEPY HOLLOW (I try to bulk my orders a bit); I did not know there were issues with the set and it is currently not available directly from Intrada either. OK, so next time. :-)
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D2T3 "The Story... (Revised)"
Orchestra noise 1:30, 1:34, 1:35, 1:37, 1:40
D2T4 "Masbath's Terrible Death"
Orchestra noise 0:07 - 0:14, 1:32 - 1:36
D2T5 "Murder"
Orchestra coughing 0:52 - 0:56
Weren't you the one who wanted all the bells and whistles on these expanded releases? Now here you go, you are also getting coughing orchestra members
Haha yes, and I wish they had put it on a fifth CD titled "ORCHESTRA NOISE" with a track-by-track breakdown of each noise, the musician making the noise, and analysis of the meaning behind why the noise was made!
But seriously though, the orchestra noise is fine, it's the other noises that sound like errors in the master itself. I'm assuming it's just general noise because of the recording location and all the crazy string techniques, but that crunching/popping/scratching stuff is very dry in the mix so I wanted to make sure it wasn't some mastering error from elements that weren't supposed to be there.
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Engineers like Chris Malone have minimized this kind of noise on some releases such as Quartet’s The Thing.
It is more a matter of approach - Intrada seems to prefer to release the recordings preserving more their natural sound, as they are, with minimum engineering like noise reduction and addition of reverb, while other labels like LLL seems to prefer to apply more tools like noise reduction in their releases.
Yeah, the orchestra noise never bothered me, I think it adds character, especially when you can hear the faint breath in-between long phrases on woodwinds. THE THING makes sense since that's also string-heavy, especially on the ambient side.
The main thing for SLEEPY HOLLOW though were the pops and crunches that sounded like digitization errors in the mastering process. They don't have the reverb that orchestra noise does so it sounded more like a vinyl pop.
These were the ones I was mentioning:
D2T1 "Introduction" at 2:23, there is a pronounced crunch, like a footstep on a dry leaf.
D2T3 "The Story... (Revised)" has like crunching grass at 1:13, 1:13, squeaking leather shoe at 1:18, 1:20, more crunching at 3:00.
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Posted: |
Aug 12, 2021 - 1:17 PM
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By: |
LeHah
(Member)
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Which begs the question, why bother with the original at all if the sound isn't improved? Surely most people who like a score enough to buy an expanded 4CD edition will already have the previous 1CD release.
Look for your answer with Varese Club's Starship Troopers.
The original mix had a beautiful, meaty dynamic mix. Balanced but forceful. I'm sure thats what Basil wanted.
Then you get the Varese Club set, which had the gain blown up as high as it could, ruining the mix, killing any highs or lows by making it one tone of noise. I am absolutely certain that even if there was no existing mixing notes for the original album, they purposely avoided listening to or following the original album's sound to give no one, anywhere, anything that the public wanted.
It is, and will likely remain, the worst mixed album I've ever heard in my life and I own Lou Reed's Machine Music LP.
But that Varese Club album was touted as "improved" because it had more music. More music doesn't matter if the sound on it is bad. So what does "improved" mean?
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Posted: |
Aug 12, 2021 - 2:43 PM
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By: |
T.J. Turner
(Member)
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Look for your answer with Varese Club's Starship Troopers.
The original mix had a beautiful, meaty dynamic mix. Balanced but forceful. I'm sure that's what Basil wanted.
Then you get the Varese Club set, which had the gain blown up as high as it could, ruining the mix, killing any highs or lows by making it one tone of noise. I am absolutely certain that even if there was no existing mixing notes for the original album, they purposely avoided listening to or following the original album's sound to give no one, anywhere, anything that the public wanted.
It is, and will likely remain, the worst mixed album I've ever heard in my life and I own Lou Reed's Machine Music LP.
But that Varese Club album was touted as "improved" because it had more music. More music doesn't matter if the sound on it is bad. So what does "improved" mean?
I'm reminded of the 90s when magazine clubs would release album collections from the oldies. They would tout "Newly remastered in pure digital sound!" "Hear it again for the first time!". And all they were doing was just boosting the gains to point of harshness and distortion, and adding cheap effects such reverb, and stereo widening, and sometimes swapping the left and right channels. All of this often did more harm than good, and didn't live up to the standards of the original vinyl releases. But why do they do this?
Varese and both Intrada and La La Land have competent engineers. I've heard plenty of great stuff, but some of the decisions are baffling. I don't bend the knee to these industries as someone accused me of earlier, and I don't subscribe to the ideas of the apologist's excuse "Well this is what the composer wanted" or "This what the engineer wanted". Screw that! If it sounds like crap I wanna let them know about it. And I think every consumer should do the same. They don't have immunity from criticism. Varese and these other labels are not Disney, Sony WB, They aren't big enough to completely ignore us. So we often get these repressings.
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