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2023-07-19, 08:00 AM
(This post was last modified: 2024-10-04, 07:03 AM by BlightedTomato.
Edit Reason: Request filled
)
Beverly Hills Cop (1984) :: Audio Sync :: LD [LV 1134-WS] to UHD
![[Image: 21503.jpg]](https://www.lddb.com/cover/ld/21501-21600/21503.jpg)
Movie: Beverly Hills Cop (1984)
Source: Paramount LD [LV 1134-WS] - 2 Sides |
Synced to: Paramount UHD
Input: PCM 16-bit, 44.1khz, Stereo (bit perfect) |
Output: FLAC 16-bit, 44.1khz, Stereo
Sourced: Soundman |
Ripped: Soundman |
Synced: BlightedTomato
pm for link
Currently looking for LD audio (synced or raw) of:
48 Hours | Another 48 Hours | A Few Good Men | Do the Right Thing | Field of Dreams | The Goonies | The Lost Boys | Midnight Run | Pet Sematary | Red Heat | Reservoir Dogs | Star Trek 1 thru 6
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Would really appreciate some spectrograms/comparisons, or at least some notes as to why anyone would want this over the DVD/blu-ray tracks.
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To be fair, Paramount do have a reputation for neutering mixes from the DVD years onwards, the most notable being Mission: Impossible, which is a shame as the LD is a stunner
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2023-07-20, 07:16 PM
(This post was last modified: 2023-07-20, 07:17 PM by dillon.)
Pretty much 99% of 2.0 tracks on DVD's by paramount are fold downs of 5.1 tracks.
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If look at newer paramount releases that were mixed in 5.1 (sum of all fears, the core) they also have a 2.0 track .Ontop of that it's lossy audio.
I wouldn't be surprised if the 2.0 tracks on the AC3 laserdiscs by paramount are downmixes as well
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I think it depends on whether the theatrical releases had a separate 2.0 mix created alongside the 5.1 mix. In the earlier years of cinema digital audio the discrete nature of the split surrounds was played up heavily but the matrixed 2.0 mixes tended to be more conservative, more often than not this carried over into the laserdisc release. If you go over to the Widescreen Review archive you can see many reviews favoured the 2.0 matrixed over the discrete 5.1 for it's different qualities.
