ABC

TV's Frink said:

 

Regardless...

Penis!

You know what ?...

... You're funny.

mangobyebye said:

Last year, I had the amazing opportunity to play with the London Symphony Orchestra in concert (I'm a horn player myself)...

 

So great to read that ! May I say horns and trumpets are my best guides to give back the breath to this orchestra and his music.

Your work on this score has really captured that sound, and that same energy and feeling that the Star Wars soundtracks are so famous for! So again, thank you so much for your excellent work...

Reading that from a musician who played with the London Symphony... Wow ! Can't tell you how I just feel right now. Thank you so much for having registered and let me know !

P.S.- I think my favorite change that is extremely apparent to me, is the "The Rebel Fleet/End Titles." I love the different cue used at the beginning...

Ah, you refer to the alternate (film version)... Whatever the version, the album one or the alternate, those are my preferate tracks. The alt version of the imperial march segment sounds a bit saturated or harsh though and I'm glad it doesn't seem to bother you. I won't be able to do better about it.

Also, one more note: I was playing around with some of the solos on horn, and I noticed that the pitch is actually pretty far off for most of the tracks on here (it seems torn directly between two pitches the whole time), so I was wondering if you have done anything to change the pitch of the score as a whole, or if it is just merely coincidence, or simply due to the materials you have to work with. However, this is just a minor thing, and it is nothing big to worry about, just a thought ;)

I didn't change anything unless it is mentioned in the remixing details. Most of the "changes" in that way are the LP layers I have to speed down (average between -0.3 and -1, what already makes big difference of changes from a track to another) to make them fit, most of the time with the Anthology. This is one of the most difficult part of the work and also the more "funny" somehow,  and the most reavealing when it matches. Anyway, only "Hyperspace" is at LP speed (x 0.835). It looked a little better to me as this.

If I had a bit of your knowledge with music I would surely correct the pitch on all the score ! However I know guitar a bit, so if the matter is just to be accorded I may be good at this (a new headache for me though) - Only it would be a mess if I mistake about the pitch I have to get closer.

The way I've constructed the whole set should show you how much chaos this score has endured through the many releases, and I had to be very organized myself to get there with the less transformations or processes other than equalizations.

PS: After having thought about it, a pitch correction would probably be possible by comparison of some sources as the C.Gerhardt recording where there are important cues. Also this pitch matter makes me think about a couple of tracks (CD2, tracks 3 to 6) wich would probably deserve such a change.

... and I eagerly await the next version whenever you come around to making it!

Yep, don't miss it.

Ever tasted the silly con carne ?

*hic* ? Sorry I don't know what that means.

So on a serious note, things seem to be a little less silly around here lately.  Or is it just my imagination?

Are you refering to the discussions with my son ? (I mean your brother).

Thank you ! :)

TheBoost said:

 Are you referring to the Scouring of the Shire? That would have added 20 minutes easily (and more like 40 to do it anything resembling justice) to a movie that already went on 20 minutes past the defeat of the main antagonist.

 Yes, that's what I'm referring too.

... With a little reflection (almost) all is possible.

May I push the question further: What makes a piece of Art ? Suggestion, or demonstration ? Pick one...

-

I can't keep myself of thinking of the Balrog sequence:

The film shows a brillant FX demonstration, quite impressive and even beautiful.

Now just take sequence from the book: all happens in darkness and you can't give a shape to what is in front of the characters (whom emotions give all the power to the scene) , and most of all: as reader you really piss in your pants ! That all the power of suggestion.

Such a cinema is still feasible (though Hollywood doen't want this) and the scene would have cost ten times less than what they made.

Chewtobacca said:

ABC said:

What is the difference between a "change" and an "alteration" ?

There is none in common parlance.  To change is to alter.  You can describe different kinds of change if you want to do so, but to use one of a pair of synonyms to refer to one kind of change, and the other to refer to another kind of change, would be a purely arbitrary distinction.

 Oh. Sorry. In French, "change" means a change or a re-evaluation, when an "alteration" means a degradation.

When you're an author who allows himself to some changes in your own work, they can be a degradation or an improvement. The second one can't be called an alteration in French.

Anchorhead said:

... Which gets us into a different area of alteration\change discussion - people altering other people's work...

 

 Of course.

... And I like the dessert exemple ;)

auximenies said: 

Vaderisnothayden said:

Middle Earth was all JRRT (except his son's posthumous edits in the Simarillion). The OOT is way more than just Mr Lucas.

Very good point.  And one which we are all aware of but I don't think it was yet brought up in the context of this discussion.  Lucas withholding the original is an insult to, as one example, the ILM crew whose work was replaced by CGI.

 YEP.

All in all, the discussion leads my thoughts to THE question... And I already have my own answer. I t would almost deserve a topic:

What is the difference between a "change" and an "alteration" ?

There was an exposition in France some years ago about the technics of the most famous French writers - as Victor Hugo - at the "Bibliotheque Nationale de Paris" (Paris Nationnal Library).  The expo was called "writers drafts" and I can tell that there are so much ways to think and construct a piece of work that it turns some point I rode here out of the matter.

When the motivations for changes are fully commercials, those are certainly alterations. Lucas wanted to say: hey! Remember Star Wars ? Whatch this ! And imagine my next three film with such a tecnology !

What I think it is: Advertising.

-

Now about LoTR, they just wanted your eyes full of FX. Please everyone take a minute and wonder why they didn't make the end of the story (the return in the country) with the concrete buildings ect... Looks too much as where you live ?

What I think: It would have been the more powerful contrast for a "fantasy" film and more, the audience would have certainly identificated how we - humans - are turning miserable with our sense of restrictions etc... It is to me the heart of the book. Such a message is 1000 times far powerful and somehow awakening than any fashionable so called "ecological" attitude.

Pfff ! Excellent !

k_bacon said:

Hi! Of course, a sample would be great :)

OK. I have to update a couple of samples anyway, just hold on.

I'm all out of CD-Rs to burn Disc 2 of v3, so I cant give feedback on that one just yet.

V3 CD2 has notably the best "Vader's Trap/Departure of Boba Fett" suite I can make. The track as quite the same clear sound from the beginning to the end what was not obvious to make ("Departure" has a quality above "Vader's Trap", wich is itself composed of 6 segments of slightly or more different qualities).

I point this because it may be different on version 4 on wich I plan to call back the background loud cellos for "Departure". It is even possible I separate the track... Then v3 may have his own little gems.

But those flat medium freqs from the Anthology... I hate them more and more.

... I just wanted to give something back to you, but if it's not your cup of tea, I fully understand :)

... Thank you for your comprehension :)

Ric Olie said:

I don't know about the eye patch, but I can definitely see the evil twin brother thing.  Now, I wonder who could play my twin...

 Don't owe on me this time !

Why do you ask the color then when you can point the one on the left ?

2010. UNOFFICIAL EDITION. ENTIRELY REMIXED, RESTORED AND RE-EDITED FROM THE 1980 LP'S AND 1985 CD RSO/POLYDOR RELEASES, THE 1993 ARISTA/20TH CENTURY FOX ANTHOLOGY, THE 1997 RCA SPECIAL EDITION. SPECIAL THANKS TO "SEVENTIESFILMNUT" (7FN) FOR THE RSO LP TRANSFERS.

--------------------------------------- AUDIOPHILE EDITION ---------------------------------------

In order to make a correct edit of the Empire Strikes Back’s score from all the available editions, one must take into consideration some specific particularities on each of those:
1. The SE’s have a lot of tracks with a narrow or spoiled stereo + a bunch of mixes that differ from the originals ones and are to be avoided.
2. The Anthology has two tracks (segments more precisely)  with the stereo channels inverted.
3. The Anthology is almost entirely inverted (the frequencies have their head down, which can be an issue once you have to edit a track with the SE or the RSO. That's easy to fix).
4. The RSO 1st CD edition, behind the lack of care about the mixing for the album, is awesome.
5. General: to notice the score is re-composed from many recording sessions wich edited together may sound different.

On this edit, all have been remixed separately (originally edited segments from a same cue), to obtain the most accurate volumes and equalizations settings before editing. No process of any kind like compression, bass-boosters, noise reductor, wide stereo filters (excepted for a 15sec bit from the SE on the MainTitles) or whatever has been used, but only equalizator.

All the RSO LP layers have been speed & pitch corrected according to the Anthology and (rarely) SE sources, sometimes as a whole track, sometimes in multiple parts depending on the source track and of course of the new edits.

CD1 (72:46):

1. Main Titles / The Ice Planet
· 0’00” - 1’31” | RSO CD (speed/pitch corrected)
· 1’31” - 2’29” | RSO CD
· 2’29” - 2’45” | SE
· 2’45” - 2’54” | Anthology
· 2’54” - 3’15” | RSO CD
· 3’15” - 3’31” | RSO CD
· 3’31” -  3’45” | RSO CD
· 3’45” -  8’12” | Anthology

2. The Wampa’s Lair
· SE + Anthology clean fade out
·RSO LP Layers:
(Sections)
· 0’00” - 0’10”
· 1’21” - 1’40”
· 1’48” - 1’53”
· 2’59” - 3’24”
(Percussions & Trumpets/Horns)
At 0'47"; 0'56"; 1'01"; 1'14"; 1'17"; 1'20"; 1'21"; 1'55"; 1'57"; 2'02"

3. Vision of Obi-Wan
· SE (Fade in beginning)

4. Snowspeeders
· Anthology
· RSO LP Layer for better depth and percussions details.

5. Aboard The Executor
· SE

6. Drawing The Battle Lines
· 0’00” – 2’01” | SE + Anthology layer (for general sonority only)
· 2’01” – 2’40” | SE
· 2’40” – 4’04” | Anthology
· Stereo recentered on each part
· "Special EQ's"

7. The Battle In The Snow
· RSO CD
· restored lack of volume from 1’43” to 1’50” (RSO only)
· rearranged the clumsy original cut (a repetition)  at 2’28”

8. Luke’s First Crash
· 0’00” - 0’58” | Anthology + LP layer (fade in) from 0'05" to 0'31"
· 0’58” - 4’00” | RSO LP at Anthology speed/pitch
· 4'00” - 4'12” | Anthology fade out

9. The Rebels Escape
· Anthology
· RSO LP transfer from 2'05 to 2'07 (missing bit) at corrected speed/pitch
· "Special EQ's"
· Resynchronization of the Anthology track
· RSO LP Layer (light, for general sonority)

10. The Asteroid Field
· RSO CD

11. Crash Landing On Dagobah
· Anthology
· Corrected volume and cut at 2'40" (end fanfare)
· "Special EQ's"

12. A Familiar Place
· SE

13. Luke’s Nocturnal Visitor
· 0’00” – 1’37” | RSO CD
· 1’37” – 1’47” | Anthology (missing bit)
· 1’47” – end | RSO CD

14. Han And Leia / Vader And The Emperor
· 0’00” – 1’31” | RSO CD, restored hiss on 1 or 2sec at 1’19” with the SE
· 1’31” – End | RSO CD
Two “big” hisses remain unrestored… but this version is irreplaceable.

15. Jedi Master Revealed / Mynock Cave
· 0’00” – 2’06” | SE (Jedi Master Revealed) + RSO LP Layer
· 2'06” – 2'23” | SE (Mynock Cave missing intro)
· 2'23” – 3'01" | RSO CD
· 3’01” – 3’09” | SE (missing bit)
· 3'09” – 4'22” | RSO CD + "click" restoration at 3'15" with the SE
· 4'22” – 4'26" | SE (missing bit)
· 4'22” – 4'40” | RSO CD (fade in)
· Resonnance correction with layered inverted channels on the two last SE missing bits.
(The SE on this track has the resonnance of the music of each channel totally isolated from the other, at least on those parts)

... Track fully reedited. The end of “Jedi Master Revealed” has been composed to match the beginning of "Mynock Cave".
The repetition of the thrilling part on the later one has been removed here as in the film version, and probably for the same reason: it broke the surprise. See for the complete cue in the additional tracks.

16. The Magic Tree
· Anthology
· RSO LP Layer

17. Attack Position
· Anthology
· Three electrical noises/dropouts restored with the SE
· Stereo recentered

18. Yoda And The Force
· RSO CD, unrestored weird synth noise on the end fanfare, but it’s the only version available with the original ending untouched releasing its full power. They’ve only cut it on later releases as no other recording allows a restoration.

19. Imperial Starfleet Deployed
· SE

20. City In The Clouds
· 0’00” – 0’09” | Anthology + light RSO LP Layer (fade in)
· 0’09” – 0’35” | RSO LP transfer
· 0’35” – 1’26” | Anthology
· 0’34” – 2’06” | RSO LP Layers (multi parts) for better depht and sonority
· 1’26” – 2’29” | SE
· 2’29” – 3’40” | RSO LP transfer
· 3’40” – End | Anthology

 
 
____________________________________________________________

CD2 (68:56):

1. Lando's Palace / Luke's Promise
· 0’00” - 1’21” | Anthology + RSO LP layer
· 1’21” - 2’24” | Anthology + RSO LP layer
· 2’24” - 3’51” | Anthology + RSO LP layer
· Stereo recentered

2. Leia's Worries
· 0’00” - 0'14” | SE
· 0’14” - 1'00” | SE

3. Lando And Han
· SE

4. Betrayal At Bespin
· SE

5. Captives
· SE

6. Deal With The Dark Lord
· 0’00” – 0'48” | SE
· 0'48” – 2’34” | SE

7. Carbon Freeze
· 0’00” - 0'23” | Anthology
· 0'23” - 1'16” | Anthology
· 1'16” - 1'34” | Anthology
· 1'34” - 2'38” | Anthology
· 2'38” - 3'20” | SE missing end
· Stereo recentered

8. Darth Vader's Trap
· 0'00” - 0'55” | Anthology
· 0'55” - 1'30” | Anthology
· 1'30” - 2'06” | Anthology
· 2'06” - 3'30” | Anthology
· 3'30” - 3'49” | Anthology
· 3'49” - 4'51” | Anthology + electrical noise restoration on 1 sec.
· Stereo recentered

9. Departure Of Boba Fett
· 0'00” - 0'06” | SE
· 0'06” - 3'36" | Anthology
RSO LP layers:
· 0’15” - 1’00”
· 1’16” - 3’36” + double cut restoration with both Anthology and SE from 2'36” - 2'40”.
· Stereo recentered
Note: this version presents the alternate LP end (with thrilling violins fading out) melted with the film mix end.

10. The Duel
· 0’00” - 0'27” | Anthology
· 0'27” - 1'33” | RSO CD
· 1'33” - 2'49” | RSO CD
· 2'49” - 4'06” | RSO CD
· speed/pitch corrected.
· Recentered stereo on the two las segments

11. The Revelation / Escape From Bespin
· Anthology
· Stereo recentered

12. Hyperspace
· Anthology
· Stereo recentered
· RSO LP layer

13. The Rebel Fleet / Finale
                  (The Rebel Fleet)
· 0’00” - 1'47” | RSO CD (base remix)
· 1'47” - 1'57” | RSO CD (distortion correction through EQ's)
+ The first harp notes added from the Anthology
                  (Finale)
· 1'57” - 2'06” | RSO CD (distortion correction through EQ's)
· 2'06” - 3'42” | RSO CD (base remix) + "tape crash" restoration at 3'08" with Anthology
· 3'42” - 3'51” | RSO CD (re-EQ)
· 3'51” - 4'28” | RSO CD - from the "Imperial March" track
· 4'28” - 4'37” | Anthology - from the "Film Version" bonus track (distortion correction through EQ's)
· 4'37” - 5'47” | RSO CD (distortion correction through EQ's)
· 4'47” - 6'25” | RSO CD (base remix)

14. The Imperial March
· RSO CD
· Stereo recentered

15. Yoda's Theme
· RSO CD

16. Training Of A Jedi Knight (Unused)
· 0'00” - 0'44” | RSO CD
· 0'44” - 1'38” | SE

ALTERNATE MATERIAL

17. Fox Fanfare
· Anthology
Note: re-recorded in 1980 during the ESB sessions.

18. Main Title / Probe Droid Overture (Original film version)
· 0’00” - 1’31” | RSO CD (speed/pitch corrected)
· 1’31” - 1’43” | RSO CD
· 1'43” - 2’24” | SE - "Probe Droid"
· 2'24” - 2’35” | SE - "Patroling On Tautaun"
· 2’35” - 2’43” | Anthology (first 3sec from SE for junction)
· 2’43” - 3’46” | RSO CD (multi parts)
· 3’15” - 3’31” | SE - "Rebel Base" insert
Note: this track is the overture as originaly scored for the final film cut. The last part has been replaced in the film with the end of "Crash Landing".

19. Snowspeeders (film version)
· Anthology + RSO LP layers
Multi-segment edit from "Hyperspace" and "Snowspeeders"

20. Mynock Cave (complete)
· SE
· Exceptional use of stereo widening filter to narrow the abusive setting from the SE.
From the "March" fanfare to the end of "Mynock Cave", here's the full tracks as rehearsed and recorded during the sessions according to the special 1980 BBC documentary on J. Williams.

21. Departure Of Boba Fett (film version)
· Anthology + RSO LP layers
Multi-segment edit from this cue

22. The Rebel Fleet / Finale (Film Version)
· Same as track 13, expended with intro from "Yoda And The Force", the "Imperial March" is replaced here with its alternate from the film version End Titles (Anthology bonus track).
+ Stereo recentered

 
 
____________________________________________________________

CD3 (78:10): The RSO album reconstructed & completed.

Note: Compilation of the highest dynamic range tracks from CD1 & 2. Many tracks have been slightly reequalized for the set (*).

1. Main Title/Luke on Patrol /The Wampa's Lair
2. Snowspeeders
3. The Imperial March*
4. The Battle In The Snow
5. Luke First Crash*
6. The Rebel Escape* (alternate mix)
7. The Asteroid Field*
8. Nocturnal Visitor
9. Han And The Princess / Vader And The Emperor
10. Jedi Master Revealed / Mynock Cave
11. The Training of A Jedi Knight
12. The Magic Tree*
13. Yoda And The Force
14. The City In The Clouds*
15. Lando's Palace/Luke's Promise*
16. Departure Of Boba Fett*
17. The Duel
18. Hyperspace*
19. The Rebel Fleet/End Title* (Album Version)
20. Yoda's Theme

© Copyrighted material: You must own the Empire Strikes Back original motion picture soundtrack Special Edition if you mean to keep for yourselves a copy of the entire project presented here. If you own any other releases of this score, then you may select and keep for yourselves the material in common from the actual set._

THE EMPIRE STRIKES BACK score

• Composer / Conductor: John Williams
• Performer: the London Symphony Orchestra
• Project: multiple sources remixing, restoration and remastering.
• Sources: RSO/PolyGram (LP & CD), Arista Anthology, RCA Special Edition.
• Set:2CD (complete score) + 1 CD (original album reconstructed and completed) + art covers, 50 pages booklet with liner notes, inside arts.
• Format: Lossless Flac audio

(See post 2 for details)

The first aim of the unofficial Audiophile Edition is to bring back the orchestral depht and the sense of detail the original soundtrack used to show in the past, what was terribly missing since the first CD issue of the Empire score in 1985.

A careful comparison and selection of the tracks from each recording after equalization tests have led to give preference to the unappreciated but potentially rich RSO/PolyGram first CD release, John Neal’s remixes for the original album remaining still today the most lavish and powerful rendition of the London Symphony Orchestra’s performance. The well preserved and superior dynamic range hidden in this release awaited only a few to come back to life…

Still, the digital transfers from the Anthology were to be largely sourced. These somehow crude sounding downmixed versions of the sessions tapes as prepared by Eric Tomlinson offer the basic material for remixing and arrangements with the RSO tracks, as for being restored with their counterparts from the Special Edition. For completion, almost all the tracks sourced from the latter fortunately provide the Tomlinson mixes too rather than new remixes. They likely belong to the same series of transfers Bill Wolford made in 1993 for the box set, and it is assumed most of these were featured on the never issued 5th disc. In the end, only 1 or 2 minutes from the 1997 remixes have found a place here, either to restore missing parts or exceptionally by choice.

By chance and for final improvement, high quality transfers from the LP’s have been made especially available. Not to be used in their pure form excepted occasionally because of cracklings and the too deep vinyl sound, they found to be used through a special overdubbing as layers, allowing to imprint the incredible dynamic range of the RSO LP’s to the sessions mixes, to borrow the many missing instruments developed in the first, such as percussions or flutes for instances to complete the latter, as to increase their potential for equalization.

- Observations and operating ways

The overall restoration of the Empire recordings involved first to manage the background noise  hearable along the score. The noticeable edited segments of each track were then to be reequalized and rebalanced in order to give their matching sound to the reconstructed cues. This means no special digital processings of any kind were to be used.

The digital transfers featured by the Anthology or the SE are more or less distorted with over-modulation and some have been spotted for having huge clippings located on one channel (often the right), wrongly and abusively compensated with loud volume. “Darth Vader’s Trap” is one of the best exemple of that. Such cues won a lot to have the balance restored, so to say as if no clipping occured, leaving a ghost where some frequencies are missing while allowing to retrieve the least corrupted channel that was unfairly lower before. Worth is to mention sensitivity prevailed over power for these tracks that have already lost a lot of their sharpness in the process. Many tracks from the original album equally deserved special cares and for most important restoration,“The Rebel Fleet / End Title” revisits all the wrong cuts, balance and EQ’s on more than a dozen of sessions takes to restitute the whole cue in an integrity unmatched before.

The SE has been used to restore the Anthology (dropouts and buzzes) and vice versa (for clean endings of the tracks notably) depending on the selection, also some of the RSO tracks from the original album being incomplete, both the SE and Anthology were welcome to supply the missing parts. Another particularity has been watched on the 1993 Anthology release to synchronize the sources with success: the audio waveform of almost every tracks was inverted compared to the two other releases, and also, two tracks had their stereo channels swapped.

Next to that, the LP’s use has generated the most creative part of the remixing, demanding to find a perfect synchronization with the sessions mixes: the LP’s play faster, and at different proportions for each track, or even between the different segments of a track. Only “Hyperspace” running about 4 minutes has been layered in one piece, when “The Magic Tree” for instance has been reedited in five or six parts of slightly different speeds, exceptionally featuring one alternate time placed instrument in its beginning. Pitch and speed restorations on rare SE parts, on a few RSO (CD) and on all the LP’s tracks, used the Anthology as main reference… The rich complementarity of the various releases has been entirely explored.

To achieve the project, the whole remastering of the score has been approached with the constant care and thought to give back the touch, the breath and the dynamic of the London Symphony Orchestra’s performance, such as we use to remind and still expect from such recordings.

Not to be The perfect restitution of the Empire Strikes Back score, I believe the virtual Audiophile Edition may remain the most authentic rendition of it until hopefully LucasFilm or the 20th Century Fox regard the audience’s demand for quality.

“A picture is stronger than a thousand words. A sound is stronger than a thousand pictures.”…

SAMPLES

(… I wanted to share a maximum of samples, then many tracks have been cut in order to avoid any imperial entanglements! I haven’ t managed the different volumes between the sources, then beware).

RSO/PolyGram CD sourced tracks comparisons:

The Battle In The Snow AE vs. RSO
The Rebel Fleet/End Title AE (cd2&cd3 versions) vs. RSO & Antho
The Duel AE vs. RSO
The Imperial March AE vs. Antho & SE
link: http://www.megaupload.com/?d=51MRQ5MX (please, copy & paste rather than direct clicking…)
Comment: to notice mostly next to the EQ’s, the new balance corrections on “The Rebel Fleet/End Title” ( in twelve parts, see here), the matching sound between “The Duel” segments, and for those who don’t know my previous work you’ll enjoy the restored cut on “Battle In The Snow” (at 24sec on the sample).

SE sourced tracks comparisons (Tomlinson mixes only):

Aboard The Executor AE vs. SE
Drawing The Battle Lines AE vs. SE & Antho (half Anthology sourced)
Imperial Starfleet Deployed (not final) AE vs. SE
Betrayal (not final) AE vs. SE
Deal with the Dark Lord (not final) AE vs. SE
link: http://www.megaupload.com/?d=5ZV7V4B5

Comment: when “Aboard The Executor” is the best track (and new) findable on the SE, “Betrayal” and “Deal with the Dark Lord” are a real nightmare to work on, and the worsts on my set. They surely lack a bit of clarity but the highs are too distorted (and the bass resonance too strong) to allow more… However I may try again. There’s no reason for I post only the best tracks, so here they are, with a light balance correction that makes the space a little more comprehensible though. Hope you’ll like the new version of “Drawing the Battle Lines”, here in full track.

Anthology sourced tracks confrontation:

Crash Landing AE vs. Antho
Attack Position AE vs. SE & Antho
The Rebels Escape AE vs. RSO(LP), Antho & SE (the latter for the fun)
<span style=“text-decoration: underline;”>link:</span> http://www.megaupload.com/?d=0APZZB0X
Comment: You’ll find here notably all the evolution of the restoration for the track “The Rebels Escape”. Actually it seems that even the RSO LP is beaten by the AE… from an overall point of view.

More Samples: CD3, 15 MINUTES OVERVIEW

Here are excerpts from 18 of the 20 tracks from the restored and reconstructed original RSO album (CD3).
This will give you more than an idea of what I use to call "sound" and how well the whole fits together…
link: http://www.megaupload.com/?d=U5XQMWUU (please copy & paste the url rather than direct click)

… Hope you’ll enjoy !

Note: there’s a artcover “work in progress” topic for the current project here.

I observe that Ric Olie hates me now.

... I'll miss you.

TheBoost said:

But what is the fundamental difference between what the Professor did, and what that one dude with the beard and the flannels did to his work?

Spirituality ? (Anything to do with the shape).

bilditup1 said:

I'm not well-versed in audio editing, and I haven't listened to the tracks 'critically' (e.g. without letting my mind wander into the music too much) so I can't speak to some of the details some people point out here...

 ... Ah, so bad, I would have love to hear a little more about what LastSilmaril mentioned as to be "a little rough on the edges" in the Optimum thread ! ... Though it must be true.

Also, and despite this, could you please mention it is a restoration project as to let the remixings and restorations details included with the set (in the case you'd have reuploaded it and removed the sheet). Thanks.

And please, I rode you've redone the covers for the film version cut, would you be kind enough to show us that in the appropriate thread too ? I'd love to see those.

I can see your signature points to my works. Great. ;)

Wich one ?

You're right... And this was the worst track for me on version 3. The problem was that I tried to muffle it as it was far too clear compared to the other cues. To notice this track really has a very specific sound (as all of them, finally) that bugged me. Then I worked more "against" it than "with" it.

Anyway, as you can see in my last post and thanks to the RSO CD things have been set alright... Even better: now I love this track ! That was a very difficult edit I tried and failed in the begining. It only needed a little more patience.

Version 4 won't be available before a while (cause I don't want to make a v5), so if you'd like a sample, just let me know.

Ric Olie said:

Dear Imposter, Don't be a Total Biscuit. However, in order to help everyone else out, I'll just quickly mention that you should try Total Biscuit's new Broccoli Biscuits. They'll turn your neighbors green with envy. Insincerely, hot.like.olie

Moth3r said:

foobar2000. No idea if it can do what you want, but I think it's great.

Removed.

k_bacon said:

... However, you're right, the 2010 took some time to get used to.

 

I sometimes had the impression that some instruments had a clearer presence in the v2 set, to name an early example the snare in the first track around 5:10.

... I'd still put my money for the 2010 set as it has the "rounder" sound and a more competent editing altogether.

Dear hot.like.olie,

Is it possible to receive total brocoli biscuit ?

Your fa... You know who.

... And having turned myself the ESB score upside down for the "Optimum Edition" I wish you good luck to find such tracks !... It's enough to have a slight difference in the mix to have delay on the music or so. It is obvious to me you won't find two times the same mixings for the OT.