LALD is fine, it's more likely the older LD transfer you have as many from that era are not the greatest for sound. I have the 1st letterbox release with the digital track dropouts and the errored right digital track that has the isolated score. The sound is perfect save for the dropouts, with better fidelity than my childhood hi-fi VHS tape. It also depends on which VHS release you have, as anything before 1992 with the series is generally not going to sound very good. Also, pan and scan VHS can use a different and inferior master to others. (TSWLM for example.)
The analog and digital tracks are the same on the letterbox series, except FRWL which has an isolated music and effects track on analog right. VHS hifi almost always outdoes the analog audio.
Volume normalization in regards to side changes isn't a bad thing as sometimes mastering errors can occur. The one big problem I've found is on some titles there is inherent crackling distortion in the very high frequencies which I wouldn't be sure how to address.
The only other thing with the letterbox LD series is the occasional loud pop or artifact in the audio that I've found. IIRC it's only From Russia With Love that has inherent hiss. (Which is not bad, simply noticeable) OHMSS on my copy has some very loud pops in Side 3 which seem to be inherent to the source.
If we can start the process of syncing these, it's the first step towards the ultimate goal. I have most of all the necessary titles BTW, I just haven't had the means to do a capture. Personally, I'd love to either sync to the SEs and go down a route similar to ProjectBlu in correcting them, or see if there's a possibility of correcting the UE/BD.
Also note: MGM releases used the magnetic track master audio so these should be used as primary sources.
As it stands this is the audio needing preservation:
Dr. No, FRWL-mono PCM from MGM as the Criterion is a print source.
Goldfinger-MGM PCM for master source, but Criterion for title song in mono and excised frames missing since 1991.
Thunderball-mono PCM from MGM, having to source from both 1989 and 1991 Connery Collection to cover a mastering error on each. Dolby surround remix from 1995 CAV set or 1998 THX disc. 5.1 LD remix from THX disc.
YOLT, OHMSS, DAF-mono PCM from MGM.
LALD-mono PCM from 2nd MGM issue. Plus the mono isolated score on the digital tracks of the 1st recalled issue may be of interest.
TMWTGG-mono LD PCM. Very clean btw.
TSWLM-Dolby surround audio is good on 1st MGM letterbox release, may have been improved on later THX version.
MR-brilliant clear surround audio on 1st letterbox issue, not sure about THX version.
FYEO-MGM PCM. The best mix is this original Dolby surround but has some of the HF distortion.
OP-MGM PCM. Also has this odd light HF distortion.
AVTAK-MGM PCM. Ballsier and beefier sounding mix.
TLD-MGM PCM. As previously stated, this is indeed a great and detailed mix, so thanks for the capture! It should be pretty easy to sync as there are no edits or tweaks to the newer transfer.
LTK-I have the Fox letterbox release and have not yet to been able to compare to the MGM reissue. The Fox audio is good, but the MGM may win out due to being several years newer. Plus the Fox is a rotter.
GE, TND,TWINE-DTS is ongoing in the theatrical DTS thread. The LD versions may have different bitrates. Dolby 5.1 is the same just mixed differently for the rival system. For complete purist's sake we'd also have to do the Dolby surround downmixes as in the 90's not every theater was digital capable. And some are mixed differently too. (GE has different sound emphasis.)
DAD-is like TWINE, both were Dolby EX/DTS ES releases.
CR '67-LD PCM mono.
NSNA-LD PCM Dolby surround.
