https://fanrestore.com/ Sat, 04 Jul 2026 11:33:35 +0000 MyBB https://fanrestore.com/thread-7041.html Thu, 25 Jun 2026 07:12:14 +0000 Kameraposti]]> https://fanrestore.com/thread-7041.html There is a 35mm print floating with great 2.0 flac audio. Took that one to the basis of the project.
I cleaned the audio a bit with rx11 eliminating the worst ”snap, crackle & pop”. Then synced it to theatrical bluray.
Next I took the stereo track from the SE version from UHD. I know there is a debate wether the track is original stereo or 5.1 fold down. Anyways, I like it more than the bluray dtsma. So I took the SE parts from UHD stereo and combined both tracks. Finally I took the SW track and LS/LR tracks from bluray and combined them to my own frankenstein 4.1 (actually 5.1 but C is empty). Result -> nice audio upgrade.]]> There is a 35mm print floating with great 2.0 flac audio. Took that one to the basis of the project.
I cleaned the audio a bit with rx11 eliminating the worst ”snap, crackle & pop”. Then synced it to theatrical bluray.
Next I took the stereo track from the SE version from UHD. I know there is a debate wether the track is original stereo or 5.1 fold down. Anyways, I like it more than the bluray dtsma. So I took the SE parts from UHD stereo and combined both tracks. Finally I took the SW track and LS/LR tracks from bluray and combined them to my own frankenstein 4.1 (actually 5.1 but C is empty). Result -> nice audio upgrade.]]> https://fanrestore.com/thread-7026.html Thu, 18 Jun 2026 02:49:37 +0000 commandrbond]]> https://fanrestore.com/thread-7026.html 1991 LD [11398] PCM 2.0 decoded into 5.0 using a Shure HTS-5300.  Synced to the UHD and saved as FLAC.

The UHD stereo has been loudified and boosted, with clipping in several spots, and some noise reduction in the low end. In spite of all that, the UHD and LD are about the same in dynamic range. So, it is the same mix but they couldn't help but mess with it a little bit.

PM me for link ]]> 1991 LD [11398] PCM 2.0 decoded into 5.0 using a Shure HTS-5300.  Synced to the UHD and saved as FLAC.

The UHD stereo has been loudified and boosted, with clipping in several spots, and some noise reduction in the low end. In spite of all that, the UHD and LD are about the same in dynamic range. So, it is the same mix but they couldn't help but mess with it a little bit.

PM me for link ]]> https://fanrestore.com/thread-6987.html Wed, 10 Jun 2026 21:45:03 +0000 commandrbond]]> https://fanrestore.com/thread-6987.html 1994 LD [21000] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the UHD and saved as FLAC.  Another great mix from the 90s. 

PM me for link.

If anyone out there has the rare AC3 release from Taiwan, please let me know. Thanks]]> 1994 LD [21000] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the UHD and saved as FLAC.  Another great mix from the 90s. 

PM me for link.

If anyone out there has the rare AC3 release from Taiwan, please let me know. Thanks]]> https://fanrestore.com/thread-6986.html Tue, 09 Jun 2026 22:01:04 +0000 commandrbond]]> https://fanrestore.com/thread-6986.html 1992 LD [LV 1376-WS] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the UHD and saved as FLAC.  Really impressive mix.

I also have the 2003 DVD AC3 5.1 synced to the UHD, saved as FLAC, however, due to the surround channels needing to be lowered by 3db, and there being no way to do that without reencoding or saving as FLAC/PCM, so far I know. 

PM me for link.]]> 1992 LD [LV 1376-WS] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the UHD and saved as FLAC.  Really impressive mix.

I also have the 2003 DVD AC3 5.1 synced to the UHD, saved as FLAC, however, due to the surround channels needing to be lowered by 3db, and there being no way to do that without reencoding or saving as FLAC/PCM, so far I know. 

PM me for link.]]> https://fanrestore.com/thread-6984.html Mon, 08 Jun 2026 15:03:47 +0000 commandrbond]]> https://fanrestore.com/thread-6984.html 1994 LD [79246] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the first HDR10 release UHD in two parts and saved as FLAC.  

I also have the 2001 DVD AC3 5.1 synced without re-encoding (again, in two parts).  

PM me for link.]]> 1994 LD [79246] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the first HDR10 release UHD in two parts and saved as FLAC.  

I also have the 2001 DVD AC3 5.1 synced without re-encoding (again, in two parts).  

PM me for link.]]> https://fanrestore.com/thread-6979.html Fri, 05 Jun 2026 16:14:26 +0000 ash_82]]> https://fanrestore.com/thread-6979.html
Slowed down to 23.976 with fffmpeg.

It is available to anyone in ac3 format (mka ready to mux)]]>
Slowed down to 23.976 with fffmpeg.

It is available to anyone in ac3 format (mka ready to mux)]]> https://fanrestore.com/thread-6978.html Fri, 05 Jun 2026 16:13:12 +0000 ash_82]]> https://fanrestore.com/thread-6978.html
Slowed down to 23.976 with fffmpeg.

Both files available to anyone in flac format (mka ready to mux)]]>
Slowed down to 23.976 with fffmpeg.

Both files available to anyone in flac format (mka ready to mux)]]> https://fanrestore.com/thread-6977.html Fri, 05 Jun 2026 16:10:09 +0000 ash_82]]> https://fanrestore.com/thread-6977.html
Slowed down to 23.976 with fffmpeg.

It is available to anyone in flac format (mka ready to mux)]]>
Slowed down to 23.976 with fffmpeg.

It is available to anyone in flac format (mka ready to mux)]]> https://fanrestore.com/thread-6976.html Fri, 05 Jun 2026 01:28:31 +0000 commandrbond]]> https://fanrestore.com/thread-6976.html https://fanrestore.com/thread-6963.html Fri, 29 May 2026 15:26:37 +0000 commandrbond]]> https://fanrestore.com/thread-6963.html
I also have the 1996 LD AC3 [0896885] synced without re-encoding.  

Some info on the PCM recording process:
Panasonic LX600 digital out goes to an ESI U24XL.  The U24XL's stereo analogue outputs go into the HTS5300.  The HTS5300's L-C-R-SL-SR outputs go into an ESI Maya44, which is recorded in Reaper at 44.1khz.  Each disc must be recorded twice since the Maya44 only has 4 inputs.  The first pass records L-C-R.  The second pass records C-SL-SR.  Both passes are then synced together in Audacity by matching the two Center recordings.  The resulting 5 channels are then synced to UHD audio.  Finally, an empty LFE channel is added for playback compatibility (I prefer to let the AVR handle the bass management rather than record the HTS5300's LFE output).  The mix is peak-normalized as a whole to -1db thus preserving the channel balances while increasing the overall gain (the volume output on the Shure is kept at a conservative level to avoid the possibility of clipping), then exported as 48khz 5.0 FLAC.  The two ESI units are operating on separate computers to avoid ground loop hum and interference.  There might be an easier way to do all this but this what I had on hand to work with.  

Normally, I would prefer to record a mono surround in a simple 4.0 but so far as I know, besides lowering the volume pot on one Surround channel, there's no way to stop the Shure from doing it's surround magic, so I was afraid that recording only one surround channel would be detrimental to the overall cohesiveness of the sound.  Maybe downmixing the surrounds into mono after the fact would be more "accurate" but I don't think it makes much difference; its not like the Shure is suddenly making the surrounds completely discrete.  Besides, the track sounded really great last night.

The AC3 was recorded using the LX600's AC3 Mod output going into a Sony EP9ES acting as a demodulator.  The Sony output is recorded in Reaper at 48khz using the U24XL, then decoded into AC3 using BeSplit, then synced using Eac3to.]]>
I also have the 1996 LD AC3 [0896885] synced without re-encoding.  

Some info on the PCM recording process:
Panasonic LX600 digital out goes to an ESI U24XL.  The U24XL's stereo analogue outputs go into the HTS5300.  The HTS5300's L-C-R-SL-SR outputs go into an ESI Maya44, which is recorded in Reaper at 44.1khz.  Each disc must be recorded twice since the Maya44 only has 4 inputs.  The first pass records L-C-R.  The second pass records C-SL-SR.  Both passes are then synced together in Audacity by matching the two Center recordings.  The resulting 5 channels are then synced to UHD audio.  Finally, an empty LFE channel is added for playback compatibility (I prefer to let the AVR handle the bass management rather than record the HTS5300's LFE output).  The mix is peak-normalized as a whole to -1db thus preserving the channel balances while increasing the overall gain (the volume output on the Shure is kept at a conservative level to avoid the possibility of clipping), then exported as 48khz 5.0 FLAC.  The two ESI units are operating on separate computers to avoid ground loop hum and interference.  There might be an easier way to do all this but this what I had on hand to work with.  

Normally, I would prefer to record a mono surround in a simple 4.0 but so far as I know, besides lowering the volume pot on one Surround channel, there's no way to stop the Shure from doing it's surround magic, so I was afraid that recording only one surround channel would be detrimental to the overall cohesiveness of the sound.  Maybe downmixing the surrounds into mono after the fact would be more "accurate" but I don't think it makes much difference; its not like the Shure is suddenly making the surrounds completely discrete.  Besides, the track sounded really great last night.

The AC3 was recorded using the LX600's AC3 Mod output going into a Sony EP9ES acting as a demodulator.  The Sony output is recorded in Reaper at 48khz using the U24XL, then decoded into AC3 using BeSplit, then synced using Eac3to.]]> https://fanrestore.com/thread-6960.html Wed, 27 May 2026 15:39:30 +0000 Sambarker04]]> https://fanrestore.com/thread-6960.html
Title: Ice Age
Format/Catalog#: Cinema DTS
Synced to: 4K WEB-DL
Input Soundtrack: 24fps, 16-bit, 44.1khz, .AUD (converted to WAV), 5.1
Output Soundtrack: 23.976fps, 16-bit, 48.0khz, DTS-HD MA (.MKA), 5.1
Sourced by: Me
Ripped by: Me
Synced by: Me

Track 1: English
Track 2: German


Yes, I owned both versions. Given that there is a D-Theater sync already, I thought it would be really cool to post it here.

I honestly wonder if reel 4 has been changed halfway through release, because I remember when watching this on the first UK DVD release and on the UK Extreme Cool Edition DVD, Diego yells, "Move, sloth!", the reverb effects are in the same level as his voice, though on this disc, it is quiet. Could've just been a Mandela effect, though since the audio file for reel 4 says it's a revision, I don't know if the original reel 4 does have the loud reverb effects or not. DTS usually tends to include a blue colour on discs in case there was a revision, though since it is red, it seems reel 4 has been changed before encoding, meaning this is what it was heard on opening night.

Also, the LFE channel on the German track seems to be very quiet, though the only times the LFE channel is at a normal level is at:

• 00:13:16.754 to 00:16:59.351
  
• beginning of Reel 3 to 00:31:08.575
  
• 00:46:00.000 to 00:47:44.862
  
• beginning of Reel 5 to 01:13:55.014
  
• 01:15:32.194 to end of film
  

I haven't listened to the German BD track, so maybe this is either what the LFE channel originally intended early in the final mix or this is just an error.]]>
Title: Ice Age
Format/Catalog#: Cinema DTS
Synced to: 4K WEB-DL
Input Soundtrack: 24fps, 16-bit, 44.1khz, .AUD (converted to WAV), 5.1
Output Soundtrack: 23.976fps, 16-bit, 48.0khz, DTS-HD MA (.MKA), 5.1
Sourced by: Me
Ripped by: Me
Synced by: Me

Track 1: English
Track 2: German


Yes, I owned both versions. Given that there is a D-Theater sync already, I thought it would be really cool to post it here.

I honestly wonder if reel 4 has been changed halfway through release, because I remember when watching this on the first UK DVD release and on the UK Extreme Cool Edition DVD, Diego yells, "Move, sloth!", the reverb effects are in the same level as his voice, though on this disc, it is quiet. Could've just been a Mandela effect, though since the audio file for reel 4 says it's a revision, I don't know if the original reel 4 does have the loud reverb effects or not. DTS usually tends to include a blue colour on discs in case there was a revision, though since it is red, it seems reel 4 has been changed before encoding, meaning this is what it was heard on opening night.

Also, the LFE channel on the German track seems to be very quiet, though the only times the LFE channel is at a normal level is at:

• 00:13:16.754 to 00:16:59.351
  
• beginning of Reel 3 to 00:31:08.575
  
• 00:46:00.000 to 00:47:44.862
  
• beginning of Reel 5 to 01:13:55.014
  
• 01:15:32.194 to end of film
  

I haven't listened to the German BD track, so maybe this is either what the LFE channel originally intended early in the final mix or this is just an error.]]> https://fanrestore.com/thread-6951.html Sun, 24 May 2026 09:10:38 +0000 izzybell]]> https://fanrestore.com/thread-6951.html
1. Original Theatrical DTS Mix -
This was taken from the 35mm scan and not the original CD-ROMs so it has been upsampled to 48kHz. This mix had the best balance of dynamics and loudness out of the ones I synced even though I mostly just synced it for 100% theatrical accuracy. Available in FLAC 5.1 16-bit 48kHz

2. D-Theater DTS Mix -
This was taken directly from the tape with the only thing done to it being patching to 24-bit for compatibility. I chose to sync this as I had read on this forum that the DTS Laserdisc and first US DVD releases used a bit-for-bit copy of the same master used for the Theatrical DTS mix and that the D-Theater tape shared this track, I didn't have access to the DTS Laserdisc so this was my best bet. In my own analysis I found that the mix is indeed very similar but every so slightly more compressed in dynamics and a harder high frequency cut-off, So I believe this mix is more representative of the studio master as opposed to the released CD-ROMs. Available in FLAC 5.1 24-bit 48kHz

3. AC-3 Laserdisc
Another one synced out of superstition. I had read this mix was slightly different and mixed for home system and that did turn out to be true. What I was suprised by however is just how dynamic this track ended up being. From my analysis it seemed to be track least affected by dynamic range compression which is suprising for a home theater mix. Available in FLAC 5.1 16-bit 48kHz (I may do a non-transcoded version in the future)

4. Laserdisc PCM / Dolby Surround -
Since I synced all my audio in NLE (Sony Vegas) this track was as easy as replacing the 5.1 track with the 2.0 track from the same capture, said capture was bit-perfect. Figured I'd do since it required zero effort and I always like throwing a bone to 2-channel setups. Available in FLAC 2.0 16-bit 44.1kHz

P.S: synced all of these in course of 3 hours in one night, I'm a machine!]]>
1. Original Theatrical DTS Mix -
This was taken from the 35mm scan and not the original CD-ROMs so it has been upsampled to 48kHz. This mix had the best balance of dynamics and loudness out of the ones I synced even though I mostly just synced it for 100% theatrical accuracy. Available in FLAC 5.1 16-bit 48kHz

2. D-Theater DTS Mix -
This was taken directly from the tape with the only thing done to it being patching to 24-bit for compatibility. I chose to sync this as I had read on this forum that the DTS Laserdisc and first US DVD releases used a bit-for-bit copy of the same master used for the Theatrical DTS mix and that the D-Theater tape shared this track, I didn't have access to the DTS Laserdisc so this was my best bet. In my own analysis I found that the mix is indeed very similar but every so slightly more compressed in dynamics and a harder high frequency cut-off, So I believe this mix is more representative of the studio master as opposed to the released CD-ROMs. Available in FLAC 5.1 24-bit 48kHz

3. AC-3 Laserdisc
Another one synced out of superstition. I had read this mix was slightly different and mixed for home system and that did turn out to be true. What I was suprised by however is just how dynamic this track ended up being. From my analysis it seemed to be track least affected by dynamic range compression which is suprising for a home theater mix. Available in FLAC 5.1 16-bit 48kHz (I may do a non-transcoded version in the future)

4. Laserdisc PCM / Dolby Surround -
Since I synced all my audio in NLE (Sony Vegas) this track was as easy as replacing the 5.1 track with the 2.0 track from the same capture, said capture was bit-perfect. Figured I'd do since it required zero effort and I always like throwing a bone to 2-channel setups. Available in FLAC 2.0 16-bit 44.1kHz

P.S: synced all of these in course of 3 hours in one night, I'm a machine!]]> https://fanrestore.com/thread-6902.html Wed, 22 Apr 2026 18:17:20 +0000 SCS_Shoug]]> https://fanrestore.com/thread-6902.html for supplying me with the DTS ISOs.

Title: Speed Racer
Format: Cinema DTS CD
Synced to: 2008 USBD
Source: .AUD, 24fps, 44.1kHz, 16bit, 5.0
Output: DTS-HD Master Audio, 23.976, 48kHz, 24bit,  5.1

PM for a link if interested. Always willing to hear feedback. Will be doing a v2 and UHD sync once that disc is out in May as this is my first time ever dealing with Cinema DTS and I'm not fully confident in how I handled LFE in particular.]]> for supplying me with the DTS ISOs.

Title: Speed Racer
Format: Cinema DTS CD
Synced to: 2008 USBD
Source: .AUD, 24fps, 44.1kHz, 16bit, 5.0
Output: DTS-HD Master Audio, 23.976, 48kHz, 24bit,  5.1

PM for a link if interested. Always willing to hear feedback. Will be doing a v2 and UHD sync once that disc is out in May as this is my first time ever dealing with Cinema DTS and I'm not fully confident in how I handled LFE in particular.]]> https://fanrestore.com/thread-6892.html Tue, 14 Apr 2026 17:51:17 +0000 Daniellemgm]]> https://fanrestore.com/thread-6892.html
I speculate that this is because Disney lost the original masters, so instead they used a pre-existing dub mix and violently ripped the vocals off of it with 2010-era audio extraction technology.

Needless to say, in the past decade and a half, audio extraction technology has jumped leaps and bounds, to the point the best ones out today are some serious CSI stuff. With stuff like UVR out there today that allows people with just home computers to make near-flawless instrumentals of songs, I thought to myself “why not fix the major issue Kiki had?”

The idea behind the 2010 audio mix, Hartman removal aside, isn’t a bad one. If done right, it would have been a “best of both worlds” dub with the Japanese score and the English dub audio. Indeed, the soundtrack alterations go against how Hayao Miyazaki intended the film to sound.

The models I used for stem extraction are MVSEP’s state of the art “Ensemble” models which mix and match various models to create the best possible vocal and instrument separation tracks.

The first release is a “purist” version with the ad-libs removed, effectively giving the 2010 mix without the “electric fan” artefacts. A “restorationist” version with the ad-libs reinserted will be released later.

When I first embarked on this project, I thought it was gonna just be removing a few lines here and there. What surprised me is that in the 2010 mix, some lines were retimed. For example, “Look Jiji, aren’t they beautiful?” when Kiki looks at the red heels happens a bit earlier.

This audio track is synced to the 2014 “Hayao Miyazaki Collection” MGVC Japanese Blu-ray, currently the best looking release.

PM me if you want a link to the FLAC file.

Sources used:

• 1998 Disney NTSC LaserDisc (for the 1998 dub, which was the best possible source as it has the English dub in Dolby Stereo without 5.1 upmixing)
  
• 2014 Studio Ghibli MGVC JPN “Hayao Miyazaki Collection” Blu-ray (for the original Japanese audio)
  
• Soundtrack CD (to patch in bits of the soundtrack)
  

]]>
I speculate that this is because Disney lost the original masters, so instead they used a pre-existing dub mix and violently ripped the vocals off of it with 2010-era audio extraction technology.

Needless to say, in the past decade and a half, audio extraction technology has jumped leaps and bounds, to the point the best ones out today are some serious CSI stuff. With stuff like UVR out there today that allows people with just home computers to make near-flawless instrumentals of songs, I thought to myself “why not fix the major issue Kiki had?”

The idea behind the 2010 audio mix, Hartman removal aside, isn’t a bad one. If done right, it would have been a “best of both worlds” dub with the Japanese score and the English dub audio. Indeed, the soundtrack alterations go against how Hayao Miyazaki intended the film to sound.

The models I used for stem extraction are MVSEP’s state of the art “Ensemble” models which mix and match various models to create the best possible vocal and instrument separation tracks.

The first release is a “purist” version with the ad-libs removed, effectively giving the 2010 mix without the “electric fan” artefacts. A “restorationist” version with the ad-libs reinserted will be released later.

When I first embarked on this project, I thought it was gonna just be removing a few lines here and there. What surprised me is that in the 2010 mix, some lines were retimed. For example, “Look Jiji, aren’t they beautiful?” when Kiki looks at the red heels happens a bit earlier.

This audio track is synced to the 2014 “Hayao Miyazaki Collection” MGVC Japanese Blu-ray, currently the best looking release.

PM me if you want a link to the FLAC file.

Sources used:

• 1998 Disney NTSC LaserDisc (for the 1998 dub, which was the best possible source as it has the English dub in Dolby Stereo without 5.1 upmixing)
  
• 2014 Studio Ghibli MGVC JPN “Hayao Miyazaki Collection” Blu-ray (for the original Japanese audio)
  
• Soundtrack CD (to patch in bits of the soundtrack)
  

]]> https://fanrestore.com/thread-6890.html Mon, 13 Apr 2026 14:26:31 +0000 Kameraposti]]> https://fanrestore.com/thread-6890.html
Found this thread (thanks )
https://fanrestore.com/thread-5995.html?...blown+away

Found the track from russian tracker and checked it out -> found it to be superior to UHDs DTSMA.UHD is 24fps and German BLU is 23.976 -> decided to change the UHD fps.
Needs delay of +1335ms to synch.

Audio
Format : DTS XLL
Format/Info : Digital Theater Systems
Commercial name : DTS-HD Master Audio
Bit rate mode : Variable
Channel(s) : 6 channels
Channel layout : C L R Ls Rs LFE
Sampling rate : 48.0 kHz
Frame rate : 93.750 FPS (512 SPF)
Bit depth : 16 bits
Compression mode : Lossless]]>
Found this thread (thanks )
https://fanrestore.com/thread-5995.html?...blown+away

Found the track from russian tracker and checked it out -> found it to be superior to UHDs DTSMA.UHD is 24fps and German BLU is 23.976 -> decided to change the UHD fps.
Needs delay of +1335ms to synch.

Audio
Format : DTS XLL
Format/Info : Digital Theater Systems
Commercial name : DTS-HD Master Audio
Bit rate mode : Variable
Channel(s) : 6 channels
Channel layout : C L R Ls Rs LFE
Sampling rate : 48.0 kHz
Frame rate : 93.750 FPS (512 SPF)
Bit depth : 16 bits
Compression mode : Lossless]]>