NTSC

Kino Lorber has some additional noise reduction. Universal NTSC DVD's worse than either of the Blu-rays.

Criterion 4K Blu-ray, caps

As with other Kurosawa 4K's, Criterion has a less processed master than Toho and BFI.

Criterion NTSC DVD overall. The 4K restoration's track is denoised and sounds muffled, but has a few of moments where it edges out in detail

Audio analysis between the Criterion 4K Blu-ray, BFI Blu-ray and Toho 4K Blu-ray

The 4K discs in both Criterion and Imprint sets are FiM encodes, but low-passed. The compression is better, but some of the grain is lost. Difference is pronounced in screen caps, but not likely to be noticed during playback, without a reference to compare it to. Comparisons

All discs use the same source transfer. It's not of the highest quality, and it includes some slight distortion, looping, clicks, pops, and hum. Criterion cleaned it up for their release, but unfortunately also lost a lot of fidelity in the process.

MGM NTSC DVD doesn't seem to have some of the more prominent distortion and has slightly different EQ but is otherwise the same.

The Criterion Complete Kubrick and Imprint 1953-1957 sets include remastered BDs. All standalone releases are from an earlier master.
Arrow UK Blu-ray has an exclusive isolated score & effects track. Kino Lorber and Imprint have an exclusive commentary each.

For the most part, the mono track available on the BD and UHD is fine, but there's an 8 minutes long segment which sounds terrible with artificially expanded frequency range causing very audible artifacting. The 5.1 remix doesn't have that issue. Sample

Criterion 4K Blu-ray (caps)

Criterion is a very nice uptick in detail and resolution. The color grade is very similar, but leans more neutral, reducing the greenish/blueish hues seen on the MoC disc.

The JP DVD track is unfiltered and sounds much more natural and detailed, but suffers from a strong CRT whine and an intermittent low-end hum. The track used on all later restorations is a bit muffled and has overemphasized bass.

Criterion applied additional EQ and roll-off to the restored track, but the audible difference is minimal.

Criterion has a different translation to MoC, but both are solid and trade blows, see comparison.

4K restoration from Original Camera Negative

The old DVD's track has significantly better detail compared to BD, especially on the score. The BD has some extra detail on dialogue, but also exhibits strange artifacting (e.g. sample 3, 0:20) which suggests possible AI "enhancement" or some other form of aggressive filtering. In contrast, DVD appears to be completely unfiltered and sounds good throughout. Samples

As the BD is significantly rolled off, a lot of the detail (real or fabricated) is buried in the mix and not audible during normal playback.

The UHD has audible artifacting and sounds metallic.

All pre-4K BDs (Twilight Time US, Suevia Spain, Imprint Australia, Koch Media Germany) are the same, and significantly better than the 4K restoration (Shout! Factory, Arrow, Kino Lorber), and a bit better than the MGM NTSC DVD.

The DV/HDR grade is tasteful and not overdone. SC has better compression, though not flawless; encoded by FiM, but Criterion also holds up quite well. Both releases claim to be approved by Lynch.

SC has a missing fade that Criterion reinstated.

The film was originally mixed in Dolby Stereo (matrixed LCRS). For the 4K restoration, this mix has been transferred from the original magnetic elements and remastered with Lynch's supervision. Unfortunately, the fidelity suffered in the process, with many sections ending up significantly less detailed due to a noise reduction pass. This track has been altered compared to the original, with reverb added to some dialogue, different ambient sound effects, changed panning, and extended bass.

For the unrestored mix, there are two major options, each with its own merits and flaws. The 2001 Paramount DVD, which I would say is the best well-rounded mastering, and the 1999 Japanese LaserDisc, which has noticeably better clarity and high-end detail, as well as better dynamics, but suffers from occasional distortion and has less bass than the DVD.

The LD also has some ambiance buried too low in the mix, and some dialogue panned more to the centre than the DVD. There are no content changes I was able to find. Unfortunately, I don't know what accounts for those differences.

The other available tracks all have more significant flaws. The Italian and Japanese BDs use the same base mastering as the DVD, but with some patching in a few shots. HD-DVD is sourced from an inferior transfer, the same as the Momentum DVD.

The 5.1 remix, originally introduced on the 2002 DVD, and carried over without changes to the 2009 BD is a light and mostly faithful remix, with fairly minimal LFE and surround use, but still potentially worthwhile as the only discrete track.

Universal Region 2 PAL DVD (original Dolby Stereo), Region 1 NTSC is minimally worse

The DTS:X remix is very revisionist with a lot of sound effect changes

Germany Capelight 4K Blu-ray > US Shout! Factory - caps

The 5.1 track sounds very good and is said to be sourced from the original 6-track mix used for 70mm blow-up releases, but there is no conclusive proof of that.

The audio track on the new 4K restoration sounds flat and lifeless, both its low and high frequencies were significantly attentuated.

Twilight Time Blu-ray or MGM NTSC DVD for the original mono mix

• Shout! Factory 4K only has a stereo downmix (which sounds muffled, as do the surround tracks)

• Twilight Time Blu-ray has the mono track with seemingly the best fidelity, but its dynamic range has been heavily compressed

• MoC UK Blu-ray has a proper dynamics and good fidelity, but bizzarely, everything is repeated after a few miliseconds, rendering echoey and metallic

• MGM NTSC DVD has been denoised and has had a strong EQ applied and sounds muffled as a result, but it retains proper dynamics

• Koch Media DE BD had poor dynamics and wrong pitch

• Analog 1986 US LaserDisc sounds poor
  

Perhaps the digital JP LD would be better.

Shout! Factory 4K Blu-ray (caps)

Arrow 4K Blu-ray > Shout! Factory see caps

The 5.1 track on the UHD is a remix originally included on the 2024 Blu-ray, but missing the LFE track. The UHD 2.0 track is a downmix of the faulty 5.1, severely lacking bass.

The digital track on the earlier LaserDisc is most likely the same as DVD, minus the lossy compression.

Fox 2002 NTSC DVD includes the original mix as discrete LCRS 4.0, later reelases only include a matrixed version an an inferior 5.1 upmix.

The matrixed stereo version on Shout! Factory's 4K Blu-ray sounds good.

AU Umbrella 4K Blu-ray > US Kino Lorber 4K Blu-ray 

The US/Theatrical Cut on the Kino Lorber 4K Blu-ray is AI upscaled and has DNR, along with Kino Lorber's usual poor compression.

Director's Cut uses a proper transfer but suffers from terrible compression, even by Kino standards.

The Umbrella with its FiM encode looks blurrier due to a slight low-pass filter, but is still far better than Kino.

AU Umbrella 4K Blu-ray and US Kino Lorber 4K Blu-ray are the same.

The 5.1 track is a direct port of the lossy NTSC DVD track.

Criterion 4K Blu-ray (caps)

Criterion is a new restoration from the original camera negative, supervised and approved by director Neil Jordan, graded using a 35mm print from the Academy Film Archive as a color reference.

Criterion is a new transfer from the magnetic track and sounds better than previous releases. The 5.1 track on the NTSC DVD is a poor quality upmix.

Lionsgate 4K Blu-ray has terrible compression, but still beats out the old disc which was sourced from a mediocre old scan with edge enhancement, and which has compression issues of its own.

The film originally premiered with two mixes, a 5.1 for upgraded theaters, and a distinct matrixed Dolby Stereo mix for older venues. The original 5.1 mix can only be found on the earliest LD/DVD releases, as all later releases replace it with a mediocre 7.1 mix with reduced dynamic range.

The Atmos mix is based off of the previous 7.1 remix, but with futher alterations as per director's wishes. One scene intentionally drops out into silence, see this post for details.