I recently received a request for information on the new 5.1 soundtrack included with 4K83, and I realized that while I had posted a detailed explanation of its contents on williarob’s forum, I had neglected to put that information here. There are actually two versions of it, which I discuss below. So without further ado, here it is:

I have never been able to call my mixes for either Empire or Jedi ‘70mm recreations’ as I have for the first movie. The 1993 mix of Jedi, which must be used as the main source since it is the most dynamic mix for the unaltered version of the movie, was remixed entirely from stems and often sounds quite different than the earlier mixes did. (Its balance actually resembles the '97 SE in a number of ways.) Since it was mixed direct to digital, and not to tape as the original mixes were, it suffers from what I call “digititis” — the tendency to have too wide a gap between loud and quiet elements in a mix. Mixing to tape requires that the average level always be high enough to avoid the quieter parts of the mix getting buried in tape hiss, and it prevents you from pushing the levels too high for long periods since it will saturate and blow up quite obviously when its headroom is exceeded. But digital doesn’t do that; it sounds exactly the same no matter how loud or quiet you go, until you reach the very limits of its performance. Then you will hear some truly hideous distortion as the mathematics break down beyond their proscribed boundaries. But you can stay just short of those boundaries and maintain the same quality throughout. While that sounds like a good thing (and of course in some ways it is), it has the unfortunate effect of allowing the user to easily abuse its available headroom. With nothing stopping you from going too loud or too quiet, it is inevitably the case that many film and television soundtracks turn out with far too wide a dynamic range to listen to comfortably. Loud scenes are unrelentingly loud for far too long, and quiet scenes are turned down so far you have to strain to hear them. In the acoustics of a smaller room, and with higher levels of background noise, typical of a home environment, this is particularly unbearable. We’re all familiar with the syndrome of having to turn up our volume to hear speech on various programs, only to turn it way down again because the action scene comes along and is suddenly deafening. Blame a combination of poor judgement by content producers and the lack of sufficient standards and safeguards for digital mixing levels. Analog mixes, with their inherent limitations, just so happened to fall into the range of what is comfortable for people to listen to over long periods.

The 1993 mix of Jedi does not suffer from this to anywhere near the extent that many modern soundtracks do, but nonetheless it does take steps in that direction. Its average levels are too high for too long in several places, mainly because the music has been turned up a lot in those scenes, and its quieter scenes can be harder to hear than the original version of Jedi was. One of my goals for making this new 5.1 was to constrain these wide shifts in level, keeping them closer to how they would have been on tape, and how they are for the other two movies.

I used the 35mm stereo mix as a guide here, first adjusting its level so that the dialog was approximately equal between the 35mm and 1993 versions for the majority of the film. Then I went through the '93 version and adjusted its loudness on a scene by scene basis to match up any part where there was a significant variation of dialog level between the two. As I expected, this resulted in a number of louder scenes being turned down somewhat, and some boosting of quieter sections. Having done this I was able to make the '93 sound a lot closer to the '83 much of the time. I also adjusted the EQ to sound more like the original; this mainly involved reversing the cut at 2 kHz which has been applied to all the 1993 soundtracks. Since 2 kHz is right in the most sensitive range of human hearing, this made many parts of the track sound significantly louder, making the level reductions even more important.

However, in certain sections the balance between the two was so different that no amount of editing, EQ, compression, or other tricks could make them resemble each other any more closely. In these cases I had to decide which of the two sounded better and then use the one I preferred for that scene. I think it went through about four different iterations of which version was used for which scene, but generally it ended up being whichever one presented the music to its best advantage. Quite often this was the 35mm, but not always. Switching back and forth between the two so frequently I came to notice a great many differences that I had never noticed or been only peripherally aware of. Aware from the start that I was not recreating any particular version, I felt a greater degree of freedom to make the track sound the way I preferred, which was actually kind of refreshing after having meticulously sought accuracy above all else for so long. Most of it is still the 1993 version, but about 50 minutes of the movie’s runtime comes from the 35mm; specifically the US laserdisc from 1986, being the most dynamic version of that mix. That version is very shrill by default but its EQ is adjusted to sound like the print audio.

Here is a list of the edits:

The main title music is reduced by 1 dB since it was very loud to start with. It served as the primary EQ reference for the rest of the 1993 sections, once it had been matched to the original. (The only known difference in content for the 70mm version of Jedi is that it used the main title music from Empire, for some reason, but I did not attempt to edit this in.)
The droids going to Jabba’s palace comes from the 35mm, because there is a noticeable sound of wind in this section that is harder to hear in the ’93.
Leia unfreezing Han from the carbonite is the 35mm, due to the music being much more prominent in the scene. The 1993 version has the music pulled down in level significantly here, which sounded much less cool. A tiny dropout in the 35mm was repaired using the ’93 during this section.
The Rancor scene is ’93-based turned down a bit since it was fatiguingly loud — especially after the EQ adjustment. The cheers of the crowd were especially in need of reduction here.
In between the Rancor and Sarlaac scenes, many adjustments have been made to the level of the 1993 version, to keep the dialog at the same level as the 35mm. This also prevents the track from being too loud before the Sarlaac scene begins, allowing it to be louder in comparison.
The beginning of the Sarlaac scene was much too loud, and the rest of the scene slightly so. In comparing this with similar action scenes in the other films I could immediately spot the difference; the average level was just too high. Believe it or not, reducing the average level can increase the perceived dynamic range because then transient peaks are able to reach higher in comparison to the average, which is what I aimed to achieve here.
The Emperor’s arrival on the Death Star is ’93-based but has been reduced by a 3.5 dB — an enormous difference. The music was unpleasantly loud here and badly in need of this. The 1993 version has a different edit in the music than the 35mm; the edit itself transitions between the different takes less abruptly than in the 35, but the difference in loudness between the takes was too great to be seamless. My level adjustment had the additional benefit of enabling this music edit to transition more smoothly because it no longer jumps obviously from loud to quiet.
Dagobah is mostly 35mm-sourced, except for the very beginning (the ’93 version has some extra thunder which I kept in). Yoda’s scene sounds very similar between the two, but using the 35 made subsequent edits easier to manage. After Yoda dies and Luke goes back to his X-wing, some of Artoo’s beeps are panned hard left in the 35, to match his position on screen, whereas in the ’93 and the special edition they come from the center channel like the rest of the dialog. The Obi-wan scene is 3.5 dB louder in the 35mm than in the ’93, making the dialog easier to hear. Obi-wan’s voice also sounds more natural in the original, whereas in the remix his voice is thinner and more distant.
The music. Yes, the first released version of this mix has extra music in the Obi-wan scene, which was not present in official releases. John Williams scored this scene but for some reason it ended up not being used. I can’t imagine why: to me the scene plays far better with music than without. There are some heavy topics of anger and betrayal and startling revelations being discussed, and every other emotional dialog scene of this type in the movie has music except this one, which feels weirdly empty. Even as a kid I knew something was wrong with it, though I couldn’t explain what. I added the music back using the soundtrack CD, and as soon as I heard the result I knew immediately that this was what had always bothered me. The level had to be varied throughout the scene to ensure it did not ever obscure the dialog, but I was amazed at what a positive difference it made. Nonetheless I knew that others would not all see it the same way, so this was intended to be only for my own use. But I was obliged to work quickly due to lack of time, and with so many other edits to keep track of, it ended up being left un-muted when I recorded the track. So what should have remained my personal tweak to the scene ending up reaching a wider audience. I later corrected this error and issued a second version without the added music.
The Emperor’s first throne room scene, Shuttle Tydirium approaching Endor, and Han trying to ambush the Imperial scouts all come from the 35mm. The music is significantly more prominent throughout this section. When the action starts it’s back to the ’93 for its dynamics, but as soon as the speeder bike chase ends I returned once again to the original mix, and this continues all the way until the rebel fleet jumps to hyperspace. Pretty much all the Endor scenes in the middle of the film sound better in the original, both because of the music level being higher by several dB and because the foley tracks are more controlled and varied. The 1993 version has some bird and insect tracks that play more or less continuously and are quite noticeable, while in the original these are usually mixed lower and only become prominent in certain places. This is especially obvious during the Luke and Leia scene. There is also some more dialog panning in the original: once during the scene of Leia meeting Wicket, where her line about being stuck is panned half-left during a wide shot, and once when Han calls to Luke from off screen, he is panned hard right. In the remixes, of course, these are all centered.
Most of the rest of the film uses the 1993 soundtrack because of all the action scenes, but some of the leadup to the battle uses the 35mm again, due to its better music and foley levels. Luke’s first scene with the Emperor is also 35mm for the same reason. Some control of levels was needed during the action scenes, but not to the extent of earlier in the movie.
Luke defeating Vader is 35mm, because the ’93 version is decidedly inferior at this point. The ’93 mix plays up the lightsaber sounds too much, making them irritatingly loud, while the music is only at a moderate level. In contrast, the original allows the music to carry the scene in a way that no remix even come close to. It is more glorious by far, and I can specifically hear that the sound effects were deliberately pulled back and the music pushed up even more about halfway through the scene. I increased the whole thing by 2 dB over its level in the 35mm to make it stand out compared to the dialog scenes before and after. It is helped by the laserdisc source being both less compressed and of greater fidelity than the print audio during this part. Strangely, Vader’s voice during the leadup to this scene was stronger and more bassy than in the remix.
The Emperor electrocuting Luke is the ’93 version, but turned down by 2 dB because it was obnoxiously loud. The scene is not dynamic at all, and there was no reason to have the average level turned up this high for so long. It reverts to its original level when he explodes at the bottom of the pit.
The ’93 mix has some extra sounds of the Millennium Falcon zooming away from the exploding Death Star, which I considered taking out but ending up keeping.
Vader’s funeral pyre and the Ewok celebration are turned down to match them to the 35mm.
The LFE channel is completely new, except for one effect that uses the SE bass since I couldn’t get it to work otherwise. Some of it follows the existing low end of the original mix, other parts are based on how the special edition did it, and others I just followed my own sense of what sounded good. It was nice to be able to exercise my own creativity as a mixer, and doing it fresh this way was actually quicker and easier than trying to re-edit any previous tracks.

As before, the soundtrack was upmixed through the Shure HTS-5300 and then combined with the LFE. The Shure did an excellent job, arguably sounding even better here than it did for the first movie. All in all I’m pleased with how it turned out, and I hope you guys are too.