The release of Top Gun:Maverick movie in theaters in May is the opportunity to listen again to the music of the first Top Gun movie released in 1986.

The review includes 8 editions: Vinyl (1986, Japan, 2016) , CD, SACD (Special Expanded Edition), Qobuz, Qobuz Special Expanded Edition, Tidal.

You can also find the reviews of other soundtracks Back to the Future and Ghostbuster.

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
To go directly to the summary of the review and the samples click here.

This album includes 16 tracks reviewed:

1. Kenny Loggins–Danger Zone
2. Cheap Trick–Mighty Wings
3. Kenny Loggins–Playing With The Boys
4. Teena Marie–Lead Me On
5. Berlin–Take My Breath Away (Love Theme From “Top Gun”)
6. Miami Sound Machine–Hot Summer Nights
7. Loverboy–Heaven In Your Eyes
8. Larry Greene–Through The Fire
9. Marietta–Destination Unknown
10. Harold Faltermeyer & Steve Stevens–Top Gun Anthem
11. Otis Redding–(Sittin’ On) The Dock Of The Bay*
12. Harold Faltermeyer–Memories**
13. Jerry Lee Lewis–Great Balls Of Fire (Original Version)*
14. The Righteous Brothers–You’ve Lost That Lovin’ Feeling*
15. Kenny Loggins–Playing With The Boys (Dance Mix)**

* Only on SACD, ** On SACD and Qobuz Special Expanded Edition

First we will analyze each edition in detail (technical and qualitative analysis), then we will compare the successive editions with their dynamics and assign a final score, and you will be able to listen some samples.

The streaming versions may evolve over time, those presented here correspond to the version tested at the date of publication, or update of the review.

Review of the editions:

Part 1: Presentation of the editions

Part 2 : Waveform and dynamique comparaison

Parts 3 : Spectrum comparisons

Part 4 : Spectrogram comparaisons

Part 5 : Summary, scoring and Sample

Part 1: presentation of the editions

Ed1: Vinyl ref : CBS 70296 SC 40323 – 1986

Presentation

This is the original european vinyl of this album .

Label	CBS
Reference	CBS 70296, SC 40323
Format (speed)	LP 33 rpm
Type	LP
Master	Analog
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	EU
Year original	1986
Year production	1986

Ed2: Vinyl Japan ref 28AP 3210 – 1986

Presentation

This is the japanese vinyl of this album.

Label	CBS
Reference	28AP 3210
Format (speed)	LP 33 rpm
Type	LP
Master	Analog
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	Japan
Year original	1986
Year production	1986

Ed3: Vinyl ref 88875120971 – 2016

Presentation

This is the reissue of the vinyl released in 2016.

Label	CBS
Reference	88875120971
Format (speed)	LP 33 rpm
Type	LP
Master	Analog
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	EU
Year original	1986
Year production	2016

Ed4: CD ref 5 099707 029624 – 1986

Presentation

This is the original CD released in 1986 .

Label	CBS
Reference	5 099707 029624
Format (speed)	CD
Type	CD PCM 16 bits 44.1 kHz
Master	Digital
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	Austria
Year original	1986
Year production	2016

Ed5: SACD (Special Expanded Edition) ref CS 65554 – 1999

Presentation

This is the SACD Special Expanded Edition with 5 bonus tracks.

Label	CBS
Reference	CS 65554
Format (speed)	Pure SACD (no CD Layer)
Type	SACD DSD64 + 5 bonus tracks
Master	Digital
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	US
Year original	1986
Year production	1999

Ed6: Qobuz – 1986

Presentation

This is the streaming Qobuz in 16 bits 44.1 kHz.

Label	CBS
Reference	Qobuz
Format (speed)	Streaming
Type	16 bits 44.1 kHz
Master	Digital
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	Europe
Year original	1986
Year production	1986

Ed7: Qobuz (Special Expanded Edition) – 1999

Presentation

This is the streaming Qobuz (Special Expanded Edition) with 2 bonus tracks in 24 bits 44.1 kHz.

Label	CBS
Reference	Qobuz (Special Expanded Edition)
Format (speed)	Streaming + 2 bonus tracks
Type	24 bits 44.1 kHz
Master	Digital
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	Europe
Year original	1986
Year production	1999

Ed8: Tidal – 1986

Presentation

This is the streaming Tidal in 16 bits 44.1 kHz with 2 bonus tracks. encoded in MQA.

Label	CBS
Reference	Tidal Master
Format (speed)	Streaming
Type	16 bits 44.1 kHz MQA encoded, decoded with Audirvana in 24 bits 88.2 kHz
Master	Digital
Mastering/Pressing	Mastered By – Brian Gardner
Original recording	Analog or Digital (depend of the track)
State	US
Year original	1996
Year production	1996

Part 2 : Waveform and dynamic comparaisons

Waveform

The waveform represents tracks of the album, the number of songs depends on the version of the edition.

The graphs below represent the waveforms of the vinyl versions (Ed1, Ed2 and Ed3). The waveforms of the 1986(Ed1) and Japan Ed2) vinyl versions are identical for all the tracks, unlike the 2016 vinyl version (Ed3) which shows the use of different masters.
All three versions are dynamic without having a sound level limiting effect.

The 5 digital versions (Cd, SACD, Qobuz, Tidal) are dynamic, without effect of compression on the sound levels, that is confirmed in the measurement of the DR with a value DR10 for these 5 versions (comparing the first 10 tracks).

Dynamic

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 8 editions we have obtained the following Dynamic Range (DR) :

	Ed1: Vinyl	Ed2: Vinyl Japan	Ed3: Vinyl 2016	Ed4: CD	Ed5: SACD	Ed6: Qobuz	Ed7: Qobuz (SEE)	Ed8: Tidal
GLOBAL	DR12	DR11	DR12	DR10	DR11	DR10	DR10	DR10
Min	DR11	DR10	DR11	DR9	DR9	DR9	DR9	DR9
Max	DR13	DR12	DR12	DR11	DR15	DR11	DR12	DR11
Kenny Loggins–Danger Zone	DR12	DR10	DR12	DR9	DR10	DR9	DR10	DR9
Cheap Trick–Mighty Wings	DR12	DR11	DR12	DR10	DR10	DR10	DR10	DR10
Kenny Loggins–Playing With The Boys	DR12	DR11	DR12	DR11	DR10	DR10	DR10	DR10
Teena Marie–Lead Me On	DR12	DR11	DR12	DR10	DR10	DR10	DR10	DR10
Berlin–Take My Breath Away (Love Theme From “Top Gun”)	DR12	DR11	DR12	DR10	DR10	DR10	DR10	DR10
Miami Sound Machine–Hot Summer Nights	DR12	DR11	DR12	DR11	DR11	DR11	DR11	DR11
Loverboy–Heaven In Your Eyes	DR12	DR12	DR12	DR11	DR10	DR10	DR10	DR11
Larry Greene–Through The Fire	DR12	DR11	DR12	DR10	DR12	DR11	DR12	DR10
Marietta–Destination Unknown	DR12	DR11	DR12	DR10	DR11	DR10	DR11	DR10
Harold Faltermeyer & Steve Stevens–Top Gun Anthem	DR11	DR10	DR11	DR9	DR9	DR9	DR9	DR9
Otis Redding–(Sittin’ On) The Dock Of The Bay					DR11
Harold Faltermeyer–Memories					DR11		DR11
Jerry Lee Lewis–Great Balls Of Fire (Original Version)					DR15
The Righteous Brothers–You’ve Lost That Lovin’ Feeling					DR11
Kenny Loggins–Playing With The Boys (Dance Mix)					DR11		DR11

With a DR10, the digital editions are dynamic as confirmed by the listening. Vinyls with a DR11 or DR12 are also dynamic, the difference of 1 or 2 can be due to a different master or to artifacts generated during the engraving of the vinyl.

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Part 3 : spectrum comparisons

Spectrum

The Spectrum allows to check the tonal balance of the music (balance between treble, medium and bass sounds) and to detect process that may have been carried out during the recording, the mixing, mastering or manufacturing phases. It is also possible to detect frequency interference issues.

For this comparison, we chose a track that was recorded in analog and has a bandwidth above 20khz.
In the years 1986 a lot of analog multitrack and stereo tape recorders were used. To get an idea of the tape recorders used, find a description of the tape recorders available in the SES studio used to save the tapes of the 80’s.

The curve represents the average frequency distribution over the sample “Playing With The Boys”.

The comparison of vinyl spectrum is very interesting.

The interesting features on this curve Ed1 Vinyl 1986 (white) vs Ed5 SACD (blue) are the following:

• A superposition of the curves from 500 to 15khz
• A bass attenuation below 500hz, up to 2 dB for vinyl (green arrow)
• An attenuation of the highs above 15kHz, with -5dB at 20 kHz, while keeping a soft slope (yellow arrow).

This curve shows that the vinyl was certainly made from an analog master.

The interesting features on this curve Ed2 Vinyl Japan (white) vs Ed5 SACD (blue) are the following:

• A superposition on the whole spectrum up to 20kHz.
• A drop beyond 20kHz (yellow arrow) indicates the use of a digital master.

The Ed2 Japan vinyl is the most faithful vinyl for the reproduction of the spectrum, it is the closest to the original recording. We find a very careful mastering work on this Japanese edition.

The interesting features on this curve Ed3 Vinyl 2016 (white) vs Ed5 SACD (blue) are the following:

• A superposition of the spectrum from 100 Hz to 20kHz.
• An attenuation of the highs from 15kHz (with 5dB at 20kHz) and a drop beyond 20kHz (yellow arrow) indicates the use of a digital master or a spécific correction at 20 kHz.

The Ed3 2016 vinyl is closer to the Ed1 vinyl with a little more bass, but certainly based on a digital master.

The interesting features on this curve Ed5 SACD (white) vs Ed4 CD (blue) are the following:

• A very close spectrum between the two versions, with very small variations due to the different masters.
• The CD does not go above 22kHz due to the 44.1kHz sampling rate limit used for the CD (yellow arrow)
• The SACD continues above 20 kHz (purple arrow) showing the use of an analog source. Above 30 kHz, there is a rise in noise linked to the SACD conversation and not filtered on this curve.
• The red arrow shows a peak of parasitic frequency around 30kHz on the SACD, without impact on the listening.

The perfect superposition of the spectrum between the CD (Ed4) and the Qobuz 1986 version (Ed6) shows the use of the same master as confirmed by the other measurements.

The perfect superposition of the spectrum between the SACD (Ed45) and the Qobuz SEE version (Ed7) up to 19 kHz. Beyond that, there is a gap again between 19 and 20 kHz and a drop to 22 kHz due to the sampling rate of the Qobuz version at 44.1 kHz. We will find the same tonal balance between these two versions when listening

The curves of the Qobuz (Ed6) and Tidal (Ed8) versions are perfectly identical up to 22 kHz (yellow arrow). Above 22 kHz, Tidal’s MQA decoding produces complementary frequencies up to 44 kHz due to spectrum folding (red zone), find more details here. The Tidal decoding imposes a 32 bits and 88.2kHz output on the sound card, which favors this phenomenon. The use of MQA for a 44.1 kHz master is not necessary.

Part 4 : Spectrogram comparaisons

Spectrogram

Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrogram od the vinyl (Ed1) has a smoother continuity at 20 kHz (yellow arrow) than the other vinyl versions. This confirms the spectrum analysis and the use of a master that would be analog. The white arrow shows the signal rising above 20khz and also the distortion due to the playback of the vinyl

For the Japan (Ed2) and 2016 (Ed3) vinyls, the yellow arrow shows the 22khz limit, with a level drop at this frequency due to the use of a digital master. Beyond this frequency (white arrow) we find the distortion of the vinyl.

The spectrogram of SACD version is very interesting in the case of this album.
Indeed, this album is a compilation of tracks with different mixing and mastering origins.
We can see that all the tracks behave differently above 20kHz (yellow arrow). Some do not go beyond and others go up to 30kHz (white arrow).
We also find the frequency peak around 30kHz (black arrow).
One is thus well in presence of a SACD which is based on original analog bands.

The spectrograms of CD (Ed4), Qobuz (Ed 6 and Ed7) versions are similar, with a limit at 22kHz (yellow arrow) due to the 44.1kHz sampling frequency and the absence of signal above 22 kHz (white arrow).

As with the vinyl, the Ed8 Tidal Master shows an extension of the spectrum above 22 kHz (red rectangle) which is due to the Tidal MQA decoded sampling rate at 88.2 kHz which generate aliasing. The white arrow shows the no signal above 44 kHz. You can find more details here.

Part 5 : Summary, scoring and Samples

Ed1: Vinyl ref CBS 70296 – SC 40323 – 1986

The pressing of the vinyl is clean, we find the sound of the vinyl warmer than the digital versions with less frank attacks and a stereo width a little reduced.

• Rating:
  • Dynamic: ●●●oo (3.5/5)
  • Bandwidth: ●●●●● (5/5)
  • Surface noise: ●●●●o (4.0/5)
  • Restitution: ●●●oo (3.5/5)

• Sample : “Playing With The Boys” 24 bits 88.2 kHz:

Ed2: Vinyl Japan ref 28AP 3210 – 1986

We find the quality of Japanese vinyl with a master faithful to the original, a quality pressing. The sound is more precise than the 2 other vinyl editions. We find a warm sound but which remains dynamic. Closer to the SACD listening than to the CD.

• Rating:
  • Dynamic: ●●●oo (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4.0/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Playing With The Boys” 24 bits 88.2 kHz:

Ed3: Vinyl ref 88875120971 – 2016

We find here the vinyl listening with basses a little less rounded (the level is a little attenuated below 100 Hz). It is very dynamic for a vinyl without the sharpness of the attacks in digital..

• Rating:
  • Dynamic: ●●●oo (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4.0/5)
  • Restitution: ●●●oo (3.5/5)

• Sample : “Playing With The Boys” 24 bits 88.2 kHz:

Ed4: CD ref 5 099707 029624 – 1986

With the CD, we switch to digital listening, it is more dynamic, clearer, with a wider stereo. The difference is very marked with the vinyl versions as we can hear it with the extracts.

• Rating:
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Playing With The Boys” 16 bits 44.1 kHz:

Ed5: SACD (Special Expanded Edition) ref CS 65554 – 1999

With SACD, listening is different, we find all the quality of the digital with the dynamics, the stereo scene, the extended bandwidth, but without any aggressiveness of the CD. The rendering is natural, analogic, we have the impression to hear an analogic master tape.

• Rating:
  • Dynamic: ●●●oo (3.5/5)
  • Bandwidth: ●●●●● (5/5)
  • Restitution: ●●●●● (4.5/5)

• Sample : “Playing With The Boys” 24 bits 88.2 kHz:

Ed6: Qobuz – 1986

The Qobuz version is based on the 1986 version and remains very close to the CD version.

• Rating:
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●oo (3.5/5)

• Sample : “Playing With The Boys” 16 bits 44.1 kHz:

Ed7: Qobuz (Special Expanded Edition) – 1999

The Qobuz SSE version is close to the SACD version in terms of spatialization and sound balance, but with a more pronounced dynamic, less soft than the SACD rendering.

• Rating:
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Playing With The Boys” 24bits 44.1 kHz:

Ed8: Tidal – 1986

The Tidal version is similar to the Qobuz version, but the sound is less dry, certainly due to the MQA decoding in 88.2 kHz. This rendering can be different depending on the DAC used.

• Rating:
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●oo (3.5/5)

• Sample : “Playing With The Boys” 24bits 88.2 kHz:

We find here 3 types of listening, the SACD proposes a precise, dynamic, wide, smooth listening. It is the most balanced listening. In digital version, the Qobuz SSE version is the closest to SACD in terms of mixing, but without natural sound. For those who want a warmer sound, the Japanese vinyl edition is the closest to the SACD edition, but without rivalling its dynamics and precision.

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Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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