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PostPosted: Thu Mar 01, 2012 8:22 am 
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I didn't realize they still made pre-recorded cassettes in '95...wow.

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PostPosted: Thu Mar 01, 2012 7:10 pm 
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I think they were still making cassette tapes until the late 90's.

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PostPosted: Mon Aug 20, 2012 7:41 pm 
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Complete Body Heat score finally on CD! :thumbs:

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http://www.screenarchives.com/title_det ... PRE-ORDER/

Perhaps the sexiest film music ever written.

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PostPosted: Mon Dec 10, 2012 9:56 pm 
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"Conan! What is best in life...?"

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INTRADA Announces:

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CONAN THE BARBARIAN
Composed and Conducted by BASIL POLEDOURIS
INTRADA MAF 7123

Basil Poledouris' score to the 1982 Universal film Conan the Barbarian remains the most impressive amongst his body of work. Poledouris delivered an impressive schematic of driving rhythm, charged strings and muscular brass that propelled the movie forward like the hammer of the gods. For almost the first thirty minutes the music appears continuous, the various themes and motifs ebbing and flowing, dovetailing seamlessly. Playing for long stretches against dialogue-free visuals, the score completely creates the sound of Cimmeria—a credible world for Conan to inhabit, the music representing his inner turmoil, confusion, and rage.

For this new, definitive release of Conan The Barbarian, Intrada’s 3-CD set is a box of delights even for those who know this fabulous music inside and out. Recorded in Italy by two separate orchestras and remixed from the original 24-track multi-track masters, it is now presented in a way that would make even Basil proud; it shines with a new clarity, a resonance and breadth of scope that makes the whole experience feel fresh and vibrant. The original soundtrack album and its subsequent reissues from 1/4" masters always had a “pinched” quality to them. And this definitive Intrada set contains a host of alternates and unheard treasures. Just in time for the 30th anniversary of the film’s release, this new collection of everything Basil recorded for the film is an emotional high—pure joy for collectors and cultists everywhere.

In the film, Thulsa Doom (James Earl Jones) leads a charge on Conan’s (Arnold Schwarzenegger) village and the young Conan watches while his father is eaten alive by dogs, and his mother is beheaded. Conan is taken into slavery and harnessed to the Wheel of Pain where he pushes the mill’s grindstone, endlessly building his muscles and anger. Freed under mysterious circumstances, he pursues his thirst for revenge, and in cahoots with Subotai (Gerry Lopez) and Valeria (Sandahl Bergman), he plots the downfall of Thulsa Doom.

INTRADA MAF 7123
Retail Price: $29.99
Available Now
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.7716/.f


This is the best restoration of a classic film score I thought I knew inside and out since the "Blue Box" release of John Williams' Superman...there are details to the orchestra and chorus I've never noticed before. Shame they don't write film music like this anymore. :(

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PostPosted: Mon Dec 10, 2012 10:11 pm 
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Monterey Jack wrote:
Shame they don't write film music like this anymore. :(

Agreed. Technology has allowed producers to continue editing films right up until release day - which leaves absolutely no time for a composer to create material that lends itself to a story. All we get these days is generic Hans Zimmer/2 Steps From Hell bullshit. I can't even remember the last time I liked a non-electronic score in a big Hollywood film.

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PostPosted: Mon Dec 10, 2012 10:45 pm 
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Chris Knight wrote:
Agreed. Technology has allowed producers to continue editing films right up until release day - which leaves absolutely no time for a composer to create material that lends itself to a story. All we get these days is generic Hans Zimmer/2 Steps From Hell bullshit. I can't even remember the last time I liked a non-electronic score in a big Hollywood film.


The problem is, you used to have some sort of formal edjucation in music composition to get a big Hollywood studio gig, but nowadays, all you have to do is fetch Hans Zimmer a cup of coffee, and suddenly you're handed a $200 million dollar tentpole blockbuster. :flip: What the fuck did Ramijn Dawadji do before he got Iron Man? A whole lotta nothing, but because he's one of Hans' "pets", he gets the assignment that should have gone to someone who could write a scrap of melody. Thank God Michael Giacchino has forged relationships with filmmakers like J.J. Abrams and the Pixar crew who still appreciate how much a good score can elevate a movie (his John Carter score was tremendous). Listening to this spiffy new Conan set tonight nearly had me in tears, not only due to how damn good it sounds but just in sheer frustration that so little of today's film music is worth a damn. Even if Basil Poledouris were still with us today, I doubt he'd be getting the kind of juicy genre assignments that were his bread and butter in the 80's and 90's. 25 years ago any random action/sci-fi/horror/fantasy film would most likely have a lush, theme-driven orchestral score by literally dozens of talented composers, all with their own distinct style (Poledouris didn't sound like James Horner, who didn't sound like John Williams, who didn't sound like Jerry Goldsmith, ect.), but nowadays every fucking score sounds like Hans Zimmer, even by composers who used to not sound like him. Patrick Doyle wrote some beautiful and exciting scores back in the 90's, but his Thor score was indistinguishable from a typical Zimmer effort, and for a Doyle score written for a superhero movie directed by Kenneth Branagh, that's positively criminal. Kids of my generation grew up on superhero themes like John Williams' Superman and Danny Elfman's Batman, but, despite the surplus of superhero movies these days, they ALL sound like Hans Fucking Zimmer. The incessant, punishing Dark Knight Rises score literally gave me a headache in the theater...what a blight.

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PostPosted: Tue Dec 11, 2012 5:55 am 
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You tell em Monty, YEEEEE HAWWWWWWW


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PostPosted: Tue Dec 11, 2012 7:30 am 
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Hi, Lex. Post more often, 'kay?

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PostPosted: Wed Apr 16, 2014 7:04 pm 
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I thought about Monty when I saw this. And I might have to pick it up based on the awesome packaging.

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PostPosted: Wed Apr 16, 2014 7:21 pm 
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Ha, awesome packaging (and a cool score).

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PostPosted: Thu Apr 24, 2014 4:17 pm 
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That packaging is amazing.

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PostPosted: Thu Apr 24, 2014 6:21 pm 
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The one soundtrack I'm completely dying to get my hands on is Beyond the Black Rainbow. Death Waltz is issuing it in the future, but no date is set and it makes me furious.


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PostPosted: Thu Apr 24, 2014 8:57 pm 
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JFelix wrote:
The one soundtrack I'm completely dying to get my hands on is Beyond the Black Rainbow. Death Waltz is issuing it in the future, but no date is set and it makes me furious

Is there anything different about the Death Waltz release, compared to the 7 track score that's already out?

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PostPosted: Thu Apr 24, 2014 9:08 pm 
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The Youtube playlist? That's ripped directly from a non-HD screener copy of the movie, sound effects and dialogue and all (well, what dialogue is actually in the movie). I want to have the soundtrack culled from the original tapes with gaudy, Death Waltz LP packaging and tacky colored vinyl. Like that Room 237 release:

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PostPosted: Thu Apr 24, 2014 9:14 pm 
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The 7 tracks I listened had moments, but it sounded like someone trying to emulate Front Line Assembly trying to emulate Tangerine Dream.

Behold the greatest piece of analog synth music never used in a film (but would make an awesome scene if it did). Seriously, the middle section of this track is like a drug to me:

http://youtu.be/Sj7A8SX7ccI?t=4m21s

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PostPosted: Thu Apr 24, 2014 9:21 pm 
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That is gorgeous. Time to grab it off a torrent site. Because the vinyl is $99.

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PostPosted: Thu Apr 24, 2014 10:17 pm 
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If you like that album, you should check out his follow-up, Equinoxe, and his live Concerts in China album.

And stop listening to records. There's a reason CDs replaced them in the 80s.

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PostPosted: Thu Apr 24, 2014 10:51 pm 
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Chris Knight wrote:
And stop listening to records. There's a reason CDs replaced them in the 80s.

My sound system is old as dirt and the only thing it can really connect to successfully is the record player I stole from a family member. The appeal of listening to music on nice speakers and subwoofer is too good to pass up, plus trolling through used record bins is a super-cheap way to blow an afternoon.

Also: tacky colored discs. Love it. Love everything about it.

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PostPosted: Fri Apr 25, 2014 6:57 am 
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Chris Knight wrote:
If you like that album, you should check out his follow-up, Equinoxe, and his live Concerts in China album.

And stop listening to records. There's a reason CDs replaced them in the 80s.



But I have tons of vinyl that's not appearing on CD anytime in the near future. Granted, now I just download all vinyl onto my hard drive, and put on my iPod, but there's stuff I can't get anyway other than vinyl, including most of the vinyl I bought on Record Store Day.

Speaking of that Chris, is there a way to download just audio from YouTube clips? There's a lot of stuff on there I'd love to have. I'm sure there's a way.

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PostPosted: Fri Apr 25, 2014 7:06 am 
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Kimfair wrote:
...is there a way to download just audio from YouTube clips?
Yes

http://audacity.sourceforge.net/help/fa ... =streaming

There are other options too, like this FireFox plug-in.

https://addons.mozilla.org/en-US/firefo ... d-youtube/

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PostPosted: Fri Apr 25, 2014 7:10 am 
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You can also copy and paste any YouTube link to youtube-mp3.org, and it spits out an mp3.

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PostPosted: Fri Apr 25, 2014 7:20 am 
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Chris Knight wrote:
You can also copy and paste any YouTube link to youtube-mp3.org, and it spits out an mp3.

Nice, I'd never heard of that one before.

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PostPosted: Fri Apr 25, 2014 7:21 am 
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Kimfair wrote:
But I have tons of vinyl that's not appearing on CD anytime in the near future.

Fair enough, but if something is available on both CD and a record (when did vinyl become the go-to word for these things?), and you pick the record (with the express intent to listen to the music, not collect it for the artwork), then you are everything that is wrong with humanity.

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PostPosted: Fri Apr 25, 2014 8:10 am 
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Chris Knight wrote:
if something is available on both CD and a record (when did vinyl become the go-to word for these things?),

All music releases on vinyl are records, but not all records are on vinyl. CDs are records, tapes are records, a folder of mp3s can be a record.
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and you pick the record (with the express intent to listen to the music, not collect it for the artwork), then you are everything that is wrong with humanity.

I often wonder how someone so smart can so often be as ungodly wrong as you so often are.

You disappoint me deeply.

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PostPosted: Fri Apr 25, 2014 8:24 am 
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PostPosted: Fri Apr 25, 2014 8:40 am 
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Chris Knight wrote:
You can also copy and paste any YouTube link to youtube-mp3.org, and it spits out an mp3.



This information is invaluable. Thanks, Chris.

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PostPosted: Fri Apr 25, 2014 8:49 am 
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There isn't a human on Earth that called a record a vinyl in the 80s. It was an LP, a 7 inch/single, or a 12 inch/maxi-single.

1. No record is perfectly flat and round, which causes pitch and tempo fluctuations not intended by the original artist/producer. The longer you own a record, the more warped it becomes. Every time you play a record, it will sound different. This is the only hipster argument that has any credibility - the added chaos introduced to each playback is often a draw (and the association with playing a record back with tube amps is a derivative of this). Again, I would argue this isn't what the artist/producer wanted. To me, it's akin to handcranked film cameras.

2. Every time a needle hits the vinyl, it eats away at it. You are destroying any fidelity the material contained, as it plays. At the peak of record player hype (mid-late 80s), needles were swapped out for lasers to combat this. That fad died along with record players, because the result still didn't sound as good as a comparable CD.

3. The sound-to-noise ratio on records, and most affordable pre-amps, is fucking awful.

4. The frequency range recorded to vinyl material is extremely limited.

5. Fucking clicks and pops.

If you desire analog fidelity, the best sounding recordings will come from reel-to-reel tape. If you desire the best available recordings to consumers, and the SACD/DVD-A/Blu-Ray-A is not available, then CD is it (and I'm not talking about masterings, I'm specifically talking about the format. Of course there are shit CDs out there).

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PostPosted: Fri Apr 25, 2014 9:06 am 
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Chris Knight wrote:
There isn't a human on Earth that called a record a vinyl in the 80s.

That's because it was still the primary way to listen to records, and tapes, while popular, were still seen as some new thing rather than a traditional record. (They surpassed vinyl sales around '85 or so.) You just called the records by default because most people bought their music in that format. Tapes were called "tapes" because they were a trending novelty.

Saying "vinyl" these days just specifies the format. You can get a record on CD or download or on vinyl.

Audio fidelity is certainly not the only reason why people might desire to listen to a record on vinyl rather than in another format. There is more to the music listening experience than the technical specs of the delivery system. For some people, the entire package, the entire ritual, is a key part of their enjoyment of the experience.

I completely understand that, too.

There is something about listening to some of my shitty old jazz records on my shitty old Victrola, for instance, that is far more enjoyable than cuing up some 320kb mp3s of the same.

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PostPosted: Fri Apr 25, 2014 9:59 am 
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I have a friend who enjoys watching shitty 70s and 80s B movies on VHS, despite the fact that the same movies are on DVD, or even Blu-Ray. And plenty of gamers love playing older consoles on CRT televisions.

I get that.

What I do not understand is modern (new) recordings being made available on (I'm not typing it) a record. And people choosing to buy them.

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PostPosted: Fri Apr 25, 2014 10:21 am 
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Chris Knight wrote:
What I do not understand is modern (new) recordings being made available on (I'm not typing it) a record. And people choosing to buy them.

Again, it's the ritual as much as the music. The nostalgia part is from how they first fell in love with it, not just the music being listened to. It's like fucking an 18 year-old in your childhood bedroom.

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PostPosted: Fri Apr 25, 2014 11:05 am 
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Ericubus wrote:
Again, it's the ritual as much as the music.

Exactly. Pulling the record from the sleeve, handling it, dropping the needle, enjoying the crackle of the vinyl, checking out the big cover art, swapping albums, and so on.

It's an aesthetic thing. Getting the best fidelity isn't everything. For some people, there is more to the listening experience. This is especially true when you are listening with other people. That ritual is part of the enjoyment.

Like, I enjoy a great beer and I enjoy a buzz. If you invented a tablet that would fill my mouth with the taste of a great beer and give me the same buzz, I wouldn't want it, even though it's clearly a more efficient and effective way to experience those two things I enjoy. That's because popping the top, pouring the beer, handling the glass, looking at how it poured - that ritual is all part of the experience.

Some people feel the same way about vinyl.

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PostPosted: Fri Apr 25, 2014 11:29 am 
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... and ... even putting a CD in is ritualistic. Most of my music is on my server in at least the same quality as CD (usually), and much easier to play that way, but having something tangible in your hands, looking it over and choosing it, just ads to the enjoyment for me.

It can the the same but in reverse for films. I have over a thousand films to choose from, but usually enjoy watching a movie more if I stumble across it on cable. Unless it's a planned event with other people involved.

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PostPosted: Fri Apr 25, 2014 11:41 am 
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Yeah, and that's the same reason I still play a few albums from disc (cd/sacd/dvd-a/bd-a), despite the fact that I have them ripped to a hard drive, and uploaded to Google and Amazon. But I wouldn't do it with new recordings, only classic albums that remind me of the age when the thought of playing music from an optical disc blew my fucking mind.

I used to DJ, with records, and maybe that's why I despise them so much. You'd play them for a few weeks, and they'd be completely dead. The format was designed to fail, so I'm just not a fan of it.

Now, the record players - yes, THAT I can get behind. The art and design involved in making a record player is just very cool. I love most consumer electronics, regardless of their function. Like this record player from the 80s:

http://youtu.be/v0_uEQp2Vg8

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PostPosted: Fri Apr 25, 2014 12:10 pm 
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Chris Knight wrote:

I used to DJ, with records, and maybe that's why I despise them so much. You'd play them for a few weeks, and they'd be completely dead. The format was designed to fail, so I'm just not a fan of it.



See this is your problem with this issue. I only had a very few records that we played so much that I needed to buy a new copy. DJ'ing will wear them out way faster than regular household use.

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PostPosted: Fri Apr 25, 2014 12:40 pm 
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Well, yeah. :lol:

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