Douglass Fake wrote:
I think I can live with most of Bruce's explanation because when we get down to comparing what our ears are hearing, I will stay with mine and he should stay with his. I would not dismiss one's ability to hear overtones and similar sonic items as quickly as Bruce does since those overtones are an absolute necessity in the reproduction of music even though many listeners do not realize they are hearing them. I admit having sat in the trumpet section of an orchestra for several years helped me take notice.
So all is probably peaceful save one thing factual, not creative or opinion in nature. The suggestion that the two track stereo mixes may have come from the three channel mixes can be disposed of since it is not only untrue but can be confirmed by reading the "technical note" Bruce Botnick attached to the back packaging of our original LP and the inside packaging of our CD. That text states - in admittedly clunky language designed to emphasize the word digital as often as possible - the source of our mixes was in fact the actual 3324 format twenty-four channel digital masters. (And for what we were billed by Digital Magnetics back then, it ought to be!) No two track mixes have ever been made from the three channel mixes that I know of until now. But I am certainly up for a new Poltergeist II experience. I find the opening cue ("The Power") to be one of Goldsmith's most powerful thematic cues ever, especially as it introduces not just one but both new themes associated with Craig T. Nelson's character, which is much more involved in this second chapter than the first one.
I think we are mostly in the same camp with regards to analog "warmth" over digital sampling rates and reproduction of same. That sadly is the nature of the digital beast, which admittedly today has sorted out most of the artifacts well enough to be quite listenable.
All this said, I will stick with my memory of the events that happened back at the Capitol Records building in February of 1986 where Digital Magnetics was then housed... and I will stick with my first-hand knowledge of the comments being made by Goldsmith and Botnick with regards to all of the mixes. Anything newly done today, without benefit of those artists, just becomes Bruce's creative liberty.
However, if Bruce performs some of his wizardry on this version, I'm all for it.
Just when I thought I was out, they pull me back in.
Here's the bottom line - there is no difference in these mixes as far as I can hear (most of my comparisons have been between the Varese and our new one). The original three-track mixes were printed to both digital and analogue sources, and were done by someone named Jerry Goldsmith and someone named Bruce Botnick. If you are telling me they simply did not print those three-track mixes (from the digital source) to two-track as we are (from the analogue source), then I will bow in pure admiration that Mr. Botnick could recreate perfectly the spatial relationship of the orchestra and synths, putting everything in exactly the same place as the three-track mix downs at exactly the same level (save for the choir, which is an overlay). That would be some amazing feat, frankly, and I would also say it would be virtually impossible, but that's just me. And, BTW, his language in that original note can be interpreted in many different ways, I have to tell you. In other words, of course the source of the mix is the original multi-channel tapes, just as the source of the three-track mix downs is the original multi-channel tapes. But whatever. I don't think anyone will hear anything in the mix that is different - what they will hear is hopefully a cleaner sound, a more detailed sound, more of the amazing orchestral detail, and a cleaner-sounding choir. That has been my aim from the beginning. As to the constant talk of "overtones" and "similar sonic items" well, it's a little wacky to me because, again, I'm listening to the digital mix and the analogue mix and I don't hear any such things. Perhaps when you actually hear our CD you'll find that you don't hear them either - but then again, as you say, our ears may be attuned to different frequencies and things.
At this point, I'm with Roger - ordered!
I thought we were through, and I hope that we now are. Everyone has said their piece and I hope peace due to the pieces can now put us all in harmony with perfect overtones and a lovely mix.