ALAN SILVESTRI

What an odd story this lossy/lossless thing. The person who did the mixup is probably less or more losst.

I agree, good music or not we should let Varese know about the issue so that at least such a mistake doesn't happen again with another score release.

I seriously wonder though how many people there are out there who actually heard the difference and went out to check their suspicions, or how many there are that just "jumped on the bandwagon" when this story leaked.
It's not like anyone apparently had a proper (lossless?) version to check the sound quality against, so it can only have been concluded by someone checking it against a spectrograph, like D. said...

Anyway, whether or not a lot of people delude themselves into thinking they can hear a diference (and I'm not saying there's anyone on board here who does do that!), is neither here nor there, as I'm absolutely with Erik on thos one: this is a manufacturing mistake which of course should be recified.
It's simply not the product the customer paid for, no matter what expert decides whether or not someone is able to "hear the difference".

Yeah, but they're all from a lossy source, if I understand the issue correctly.
I.e. there is no lossLESS source to actually compare against.
Which means the only way to have found out is by checking frequency cut-off rates: the lower the bitrate, the lower the frequency peaks (if I understand the process correcly).

Exactly: hence the need to exchange the CDs.
Completely aside from the whole "can we hear it? No, we can't!" debate, this is a VERY simple case of manufacturing error, which the manufacturer should fix.

Indeed, nobody is arguing with this.

What i giggle at though is the photos from frequency spectre phasmatographs posted in fan forums, most of people never seen one in the past or know what it actually is, and debating whether they can see or hear the difference or not.

Sooooo, what about the music? Anyone heard the score and can weigh in their opinion on the music?

Well, if you say so... it is certainly the best piece of rubbish i have listened to in a long time

I am sorry, which score you all talking about?

Oh! my God, i can't believe what you are saying. Actually, i am yet to listen to the score, but its hard to believe that Alan scored awfully. Can you elaborate it?

Keep in mind that this comes from someone who could not identify a strong main theme in silvestris The Wild

There is a theme and i'd say a very strong one. It's just that the score builds up to it instead of playing it to death from the get go. If you listen to the great end credits and can't identify a cheesy theme in there (really, its all what that piece consists of - a cheesy theme with lots of brass) then i am afraid there's no way to help you enjoying this score in any way. This is far from the simplicity of a dark knight or transformers. There's a synth element to the score that i admit is partly recycled from silvestris tomb raider 2, though the orchestral action tracks especially during the second half of the album compensate this nicely. During that second half, i could not help but think of starship troopers a bit and that basil poledouris may have scored such a film in a similar way had he ever been given a chance. End Credits is really a tribute to poledouris in my ears.

That's as objective as i can be about this score. But well, i like it so what do i know?

The only really decent track on the score is the last one. I started to feel the MV refences was Beowulf, one of the reasons why I disliked that score. Never was a big fan of Silvestri though.

I know, that wouldn't be surprising given the current illogically identical (as it seems) "tastes" and myopic "musical visions" of the directors these days, but even with that, i think we're not giving Silvestri the credit he deserves in respect to the movie he scored; i mean what did we expect? I know we are all excited whenever one of the greats scores a movie (i.e. the left-overs from the Bates' and the Djawadis') but still, G.I.JOE - the movie, looks and feels UTTER CRAP!

Well, the trailer shows the movie is a Michael Bay wannabe. And that's quite stupid, makes me avoid it.

There's a nice tune in the end credits. That was the only bit of the score I thought wasn't rubbish (but there's a stronger tune in most other Silvestri scores). I didn't notice the tune anywhere else in the score - I'm more than willing to admit that it might be there, I just haven't listened closely enough to notice it.