Harmy said:
If it was up to me, I wouldn't give a crap about lossless audio, especially for the mixes that are already sourced from lossy sources but I want to put out a quality release that even the audiophiles here can appreciate.
THANK YOU!!!!
I've already waited for 2.5 over 2.1 anyways, and the big draw for me was finally having lossless sources for all the tracks. (Though it's obviously not going to help the mono much, being from the restoration project)
I personally really can't tell the difference - hell, I just recently tried listening to a 96000Hz 4608kbps FLAC of a Beatles song and then a 44100Hz 128kbps MP3 and couldn't hear any difference whatsoever and this was on my friend's hi-fi equipment.
Fingernails on chalkboard...to each their own but this kinda stuff drives me crazy. In music I find it makes a huge difference, and with the SW mixes it actually does a large part as well, especially the '85 and '97 mixes which are the only ones I've heard lossless versions of.
hairy_hen said:
Argh, I'm really sorry to keep delaying and making people wonder what's going on. A combination of being kept busy with schoolwork, internet connection problems, and going through something that could soon turn into a nasty breakup (and would leave me without a place to live) are contributing factors.
Personally, I blame Zoidberg.
The audio tracks (yes, they are all 100% lossless) are ready to go as soon as they can be uploaded successfully. For some reason I haven't been having much luck with that, but I'll get those blasted things up there if it kills me. The 70mm has been optimized to the point where I'm probably not going to touch it again unless a true discrete channel copy became available somehow; I also have the mono mix with the film version of the Fox fanfare spliced in, and the stereo mix from the digital source with all the dropouts and other errors completely eliminated by patching in parts of the analogue version. Both are level-matched as precisely as possible to the 70 in order to maintain consistency of dialogue when switching between tracks—rather than relying on DialNorm to do this, I rendered new files myself after careful listening tests, to maintain the highest quality. I'll also add my isolated score, which in addition to synching the music to the movie has also been heavily re-equalized to sound like it does in the movie, and not shrill and nasty as it does on the CD's. Maybe I should start a new thread for all these things so they can be found in one place.
So, that's where I am, anyway. Sorry for making everyone wonder . . .
No worries, life interferes. Thanks for this massive amount of work on all the tracks.
Does it matter if the '85 comes from the JSC or the SWE?