Cytat:A quick glance at this 4K's only main audio option -- DTS-HD 5.1 Master Audio -- might seem like a downgrade from the Blu-ray's 7.1 mix, but that's not correct at all. In fact, that previous 7.1 mix was reportedly altered from earlier releases including of course the original theatrical 5.1 and featured changes such as minor panning boosts, a few scraps of missing incidental dialogue -- such as disparaging remarks against Pitt's character on his way to the "Greed" crime scene -- and, perhaps most blatantly, a ton of reverb and boosting to the opening credits' unforgettable version of Nine Inch Nails' "Closer". The good news is that this total remix was created by original sound designer Ren Klyce using the original audio stems and apparently is closer in tone to its theatrical counterpart... and while those previous changes are now "back to normal" or at least less noticeable, the missing "Greed" dialogue is still gone. But in all other respects this is a truly well-crafted track and one created with home theaters in mind, utilizing strong dynamic range but still mixed in a way that won't have you reaching for your remote during every other scene. From crisp dialogue to creeping discrete effects and the original score by Howard Shore (which shares at least a little in common with his music for The Silence of the Lambs), it's a sonic knockout that sounds as good as ever. Maybe even better.

Cytat:For example, with sound effect, we now have as many as 3 stems: Ambience, Hard Effects and Objects. But when we did the Fight Club mix we only made 1 single FX stem. Back then we had a limited number of tracks we could record to.  This was due mostly to the number of outputs we had on the Neve Capricorn Console at the time, and also the number of recorder channels we could print to.

Back then, all of the sounds got combined in a single stem due to this limitation.  As technology progresses, the number of outputs and tracks we can record to is constantly increasing, which is helpful in giving more flexibility to remixes in the future.

When you revisit a project, you often discover mistakes. Discovering these mistakes can be stressful,  so the challenge is to not feel the need to always correct them.  I’m one of those types of people that likes to leave the mistakes, because that’s what it was that we made and perhaps all those little mistakes add up to making the listening experience more edgy for example.

It is very easy to think, “now that you’ve got all of this technology, let’s make the movie come from the ceiling in ATMOS”. This might work if we had everything separate and could assign sounds like wind the ATMOS ceiling channels. The problem is when you don’t have the wind separate then you are stuck wishing you did — but now it is combined with a door slamming, and that door slamming won’t sound right coming from the ceiling. In these cases, it can get complicated, and that is when you have to step back and leave things alone they way they were.