#FHED1385); and in
mono with sound effects on R1 Criterion DVD set (Cat.
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.
Isolated
mono track Brain May's score,
with occasional
sound effects between cues.
Isolated
mono track of Elmer Bernstein's score
with sound effects.
Isolated
mono track of Giovanni Fusco's score
with modest
sound effects / Informative booklet notes by Russell Lack.
Isolated
mono track of Ron Goodwin's score
with sound effects.
Isolated
mono track Miklos Rozsa's score
with sound effects.
Isolated
mono track of Bernard Herrmann's score
with sound effects.
Isolated
mono track
with music by Jack Marshall (and song composed by Robert Mitchum & Don Raye), plus
sound effects.
Isolated
mono track of David Amram's score
with sound effects.
The original
mono mix was beautifully layered
with sound effects, and it's worth noting that Anchor Bay didn't upgrade the film
with a pseudo-stereo mix, a practice often applied by studios to older films to upgrade their elements for a surround
sound setup.
As
with any
Mono track, all of the audio comes from the center channel, and the mix of dialogue, mostly - present»70s score, and a few active
sound effects is satisfactory and never difficult to distinguish.
Isolated
mono track of Alex North's arrangements of classical music
with sound effects.
Isolated
mono tracks of Les Baxter's music,
with sound effects for both films.
Isolated
mono track of Monty Norman's score
with sound effects.
Isolated
mono track of Leith Stevens» score
with sound effects.
Isolated
mono track of Alex North's score
with sound effects.
Previously available on a CD from the once - prolific Tsumani, the DVD presents Korngold's complete score in an isolated
mono track,
with no
sound effects whatsoever.
A nice bonus, but pretty useless, since the film's Cantonese track is mastered in a robust Dolby 5.1 mix, and the overtly synth score is reduced to a flat
mono track, sharing limited headroom
with intrusive
sound effects.