I saw double late night bill of ALIEN and ALIENS summertime 1990, at Cannon Bournemouth screen 2, 35mm Dolby Stereo optical.
I’ve seen ALIENS once before on its 86 release at Odeon Bournemouth in screen 2.
The double bill sadly ALIEN was only presented in format 1 mono as it was mono print not uncommon for early days some prints might have gone out as Dolby stereo optical and mono optical and road show 70mm releases booked in at larger metropolitan cites like Odeon Leicester Square.
Also the fader for ALIEN was set at 10 due to the low level mix, as recall discussion briefly with projectionist that was running the late shows for most weekends.
I do believe ALIEN was mixed with mono surrounds for 70mm not split-surrounds its not a big deal the sound is still fuller and discrete with its uncompressed sound over Dolby Stereo optical.
The mixes on France track on the region 1 DVD 20th anniversary has deep rumble on the Nostromo, scenes like after when the Alien as its quick meal, then the crew sends Kane into space the next shot has, deep engine sound. The English tracks don’t. Maybe someone want to look into that further it might be the France have better version it might not then again mean anything.
Also the score is higher quality when Kane is walking around the while the others look at Space Jockey to see if he has an 8 track tapes to play lol, the Jerry Goldsmith score stands out clearer while on English track its a bit soft down in mix.
I did check between the Laserdisc CAV edition same deal soft and the same with that dreadful version that was used for that dreadful bluray Fox are cheap. Umm, that umm, so called ALIEN theatrical for bluray is the same I don’t need to buy to be disappointed a second time!
The remix on that quad box edition is sick. The LCR or left and right centre-phantom was blended mixed on top of the centre discrete WTF! Yes you have to be listening not hearing it, LISTENING to spot it.
The surrounds remain the same mono discrete as they should. The LFE.1 hasn’t been mucked around with unlike some classic Dolby films with fake LFE.1 and fake stereo surrounds.
Listen to ALIEN region 1 as I can’t stand region 2 with PAL speed-up. Listen to when the crew exits the spaceship though the air-lock. You can’t hear the Foley for sh!t on centre due to some idiot twat mixer that has fE&^ked it right up, and Fox being tight would use this version for that so called perfect bluray format what a joke.
Listen for Ripley when she calls for Parker. You can’t hear the soft faint echo in the voice that is on centre only all that idiot mixer did was stuff the centre up with left/right centre-phantom WTF was going though that idiots mind on in a mixing room, no doubt big enough to swing a cat around.
If you like ALIEN as much as do forget bluray it might only be good enough for the extras or ALIEN 3 screw ALIENS I want grain all the way its like buying bread with no nuts in it I want it nutty, not some senile director that’s losing the plot, I think he’s had one too many deep sea dives and less time in decompression chamber.
Going back to where Ripley says “Parker”? Note the pressure hissing air is on stage channels left and right only and even a poorly home theatre can mess it up with details in the centre being masked and that mixer has only made it worse for quad-box-set.
Oddly ALIENS has stereo surrounds and it sounds decent but was it remixed for home release or was it mixed at Pinewood with stereo surrounds for 70mm? The In-70mm site is bit vague on what titles had split-surrounds and Raiders only had mono surrounds as they sound a bit hooky with occasional stage channel fronts leaking into so called “stereo surrounds” when all you should hear is total isolated discreteness. Its trying to sound like SS and as far as I can recall only two Indy films was released with split-surrounds Temple of Doom and Last Crusade.
Oh and don’t forget films are mixed for an X-curve so the low end on ALIEN is about right the lows hardly reach down to 20Hz I think they’re around the 30Hz mark when I did waterfall spectrum lab test on it a few years ago.
ALIENS has deep to high range lows and so on and so on for each film, that are mixed differently from one another.
If I can get hold of cheap projector I and second prints no doubt in bad shape, probably all pink by now. Mag track might be flaking also. I don’t trust studios they’ll do whatever to BS us to make themselves a pot of money and not care a bit about the original mix that some of us didn’t get the pleasure of listening to.
If I can get hold of cheap projector I and second prints no doubt in bad shape, probably all pink by now. Mag track might be flaking also. I don’t trust studios they’ll do whatever to BS us to make themselves a pot of money and not care a bit about the original mix that some of us didn’t get the pleasure of listening to.
I would take a guess ALIEN had two of the same “boom channels” and only thing for home is they’re are no format codes like cinema has.
Its easy to put the original mix on DVD with the same channel configuration.
Use the LCR as normal and use the two surround channels as boom channel for channels 2 and 4 use the LFE.1 that is only filtered and use that as full spectrum mono surround same for the left-centre right-centre put those on the surrounds and have Dolby format codes or digital fagging to trigger and assign those channels to the correct loudspeakers.
Home cinema has always been about recreating the cinema experience since the early 80’s when the first domestic Dolby surround decoders appeared its been shambles or mess since day one for the home when Dolby digital came out into the home its a one track mind no format codes, so classic Todd-AO releases don’t get no justification expected butchered into those dtsHDMA 7.1 WTF The Sound of Music what use is that to me? Five-screen has been ignored for the home release.