Issue link: https://digital.copcomm.com/i/1504940
20 FA L L 2 0 2 3 I C A S Q U A R T E R L Y that was released to be an incomplete version of his vision. The film did quite well at the worldwide box office, grossing more than $100M worldwide. With adjusted dollars, it was only J.J. Abrams' Star Trek (2009) film that has made more money. Paramount had had enough problems with the film and it looked like, once again, Star Trek might be dead. We know now that there would be five more films with the original cast, a Next Generation TV series that would be very successful (this time starting in syndication), several spinoffs from that show, and eventually, a reboot movie series and new streaming television shows. For Trek fans, it is a great time to be alive! The Soundtrack Album and Music Restoration (1979) One of the bright shining spots of the film is the amazing score by Jerry Goldsmith. It raises the whole movie to a new level. Almost immediately, fans wanted to buy the score on LP. Eventually, it would be released on CD. This begins the restoration aspect of the score. Legendary scoring mixer Bruce Babcock was heavily involved in the soundtrack. "I go all the way back to 1979, when I was the executive representing Columbia Records because we paid for the scoring (as part of a deal to release the soundtrack album; both Star Wars and Close Encounters had huge-selling soundtracks). I represented them, and I also brought down digital recording equipment, a Sony two-track PCM-1600 (not 1610 or 1630). It involved two BVU U-Matic recorders. It was the first motion picture that I know of that any digital audio had been recorded for. "I got Sony to give me a prototype editor in order to edit it all together. We did all the recording, and then in my office, Jerry Goldsmith and I edited the whole thing together using the system. And then Jerry decided he wanted to change the sequence for the album. We had to take out some space in the cloud where it went on forever because, when we were scoring, on the screen it said, 'Scene missing.' We started to do that, and the editor decided to stop working. This had to be done for the opening of the movie at the Space and Science Museum in Washington, DC, and we had to have half a million copies of the album by that time. They did sell out almost instantaneously. "I couldn't get the editor to work, so I packed up the gear and went to Capitol Records and the mastering engineer there was named Wally Traugott, that's German for 'Trust in God.' And what I was going to do is transfer it all to analog with Dolby and edit it together and then master. "And on my way down... I had gone to lunch and couldn't eat because my life was going to be over because we only had a two-day window to get this done because we finished the end of November, and December 6 was the opening at the National Air and Space Museum. I was walking down the hall after trying to eat and a gentleman, very tall, he must have been about 6' 6", big guy, came up to me and said, 'You don't know me, but I work here in the tech department at Capitol. My wife's a psychic, and she says you're working with new equipment, and maybe we can help you find out what's wrong.' "So, we packed up the gear and went back to my offices in Re-recording mixer Michael Babcock CAS and producer David C. Fein