Quote Originally Posted by E-Stat
Perhaps he is still waiting (as am I ) for you to answer my earlier question: Why would there be any difference whatsoever in the Leona Lewis track released on CD and that which they played at the end of the movie? The movie was over! There was no dialogue. No sound effects. They just played the theme!
A) the CD is a two channel medium. You do not mix the same way for a two channel medium that you do for a 5.1 medium, whether it is music only or not.

B) One was created on pro-tools, the other was not. From what I gather from Chris(the lead re-recording mixer on the project) the music only version was not mixed by the film team, nor was it done on theatrical speakers or on a re-recording stage. It was done in a smaller studio using a completely different monitoring system, and with a different audio engineer. The audio only was EQ'd for smaller room playback on a two channel system, the film score on a 5.1 dubbing stage with EQ to tweak the mix for that venue.

C) You listened to one recording in a theater using different speakers than you used when listening to it at home. Your system at home does not have a center speaker(and the theatrical playback did), you system does not have ANY surround speakers let alone an array of them.

D) The acoustics you heard the theatrical presentation in are different from your home.

E) The reason you are asking this question is because you obviously don't know $hit about recording. If the listener took into consideration WHERE he was listening, and WHAT he is comparing to, he would have realized the question(and comparison) was a stupid one from the onset.

F) Horn system versus electrostatic panel= different sound. Both speaker technologies sound extremely different even if the source material was exactly the same.

G) Theater speakers are placed in a gigantic baffle to prevent rear reflections from interfering with the frontal wave in a delayed fashion. Your speakers at home are not, which allows those rear reflection to combine with the frontal wave to create artificial depth. If I put your speakers(you know, those special speakers that do what no other speaker on earth can do) in a baffle, they would sound flat depth wise as well, because it lacks the complex artificial room born reflections that occur at home. Depth in the theater is achieved by bringing the mix INTO the room via the surround speakers, not by artificial room born reflection derived from the end listeners room that were not on the recording in the first place.

Let's see here. We already have a high quality CD track. The movie is over and all we need to do is play some music. Why would any person capable of dressing themselves in the morning remix it for a poorer result?
Different result, poorer is a matter of perspective. My recollection of the end credit track in the theater is that it was presented in 5.1, not 2.0. If they were both 2.0 presentation, then I can understand your question. A CD mix translates very poorly in a movie theater, because all mixes must be done in an environment simular to that which it will be presented in. Duh!

Are you engineers that F**king stupid?
No, but we realize that some of our listeners are.

Or are you just seeking another excuse why the theatrical result sucks as compared to what one can do at home? Do you remember this incredibly stupid comment?

"Theatrical sound mixes are different from audio only presentations."

If you cannot realize what I said is true, then it is your ignorance and not our stupidity that is the problem. If you think that statement is stupid, then once again, you don't know $hit about the recording process. That's your problem, not ours.

So the goal is to take a perfectly good recording and render it pathetic? If what you say is true, then movie sound engineers must be among the most inept group of idiots on the planet!

rw
The goal is to mix a soundtrack to fit the environment. I do not mix an audio only soundtack in a dubbing stage. I do not mix a film soundtrack in a two channel studio. I mix soundtrack for film on a system that accurately translates what I hear in the dubbing stage to the theater. I mix a soundtrack for audio only in a smaller environment, using a different type of speaker(I don't use horns for audio only mixes) which allows it to translate well in most audio systems. Inherently, any recording not mixed on a electrostatic panel(next to none) is going to sound different when played through thus system, than it would when played back by speakers that are more simular to those it was mixed on. Better is a matter of perspective.

I just love how you translate your lack of education and information of the recording process, differences in listening environments and speaker systems, difference in playback formats, and turned that into a stupid inept engineer. To me, that sounds like a stupid listener who has an inablility to connect some very basic dots.