While soundstage got better and dialogue sounded more crisp, the signal processing sounded artificial with boosted highs and lows, altering the timbre of instruments
during orchestral scores.
Not exact matches
Though a straightforward mono mix, «Thirst» has some marvelous sound design that particularly pays off
during a hallucinatory «conversion» sequence of sorts, with wild sound effects by mixer Peter Fenton that beautifully intermesh with Brian May's excellent
orchestral score.
The composer builds to an extent on the sound he established
during one of his international breakthrough
scores (2005's Syriana) but he takes it off in different directions for a
score which will probably be an easier listen for most people than that one thanks to the increased
orchestral element and the couple of notable concessions to mainstream Hollywood - style Americana.