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Noooooooo master tapes on this one, not even for the album. Or if there are, I don't know where they went. It was a weird indie production distributed by Columbia and now owned by some British outfit and nobody seems to know anything vis a vis music.
lk
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I saw The Long Goodbye last week, with Williams other collaboration with Altman. This is a great score too, entirely made up of variations on the title song Williams wrote with Johnny Mercer. It's very witty and clever, the most amusing moment being when the song pops up as the door bell sound at the home of the Sterling Hayden character. It would be a very worthwhile score for someone to release. The DVD is also released by MGM/UA.
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Has a legitimate CD release of a film score ever used an LP as its sound source?
What are the legal and sound-technology issues involved?
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Siegerson, If your vinyl source is well pressed and mastered (and the academy promo for IMAGES certainly was) then an excellent end product can be achieved with todays digital technology.
On the other hand, there are albums out there that probably sound like crap in their master generation--many of the Mainstream releases from scores mastered overseas are pretty hopeless. No amount of painstaking processing and "waveform redraws" seems to yield up a decent version of Arnold's HEROES OF TELEMARK and Barry's THE WRONG BOX. Lots of the late 50's UA releases, like TUNES OF GLORY, also are fairly problematic, while Bernstein's GOD'S LITTLE ACRE is a remarkably fidelic mono for 1958, although afflicted with some minor hum that is easily filtered out.
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