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I enjoy it myself, makes me feel like I'm there with them.
BUT I can see the other side of not liking it and enjoying it.
BTW, you REALLY need to try to see a LIVE scoring session at some point. You will go GOOGOO over it, trust me.
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I absolutely LOVE room noise! It gives the recording a depth like nothing else can!!!
My FAVORITE room noise is from - NATURALLY! - Obsession! During "Newsboy", you can hear something way off in the distance hammering the shit out of something! I would love to know what that was!
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Just thought of another terrific one!
On The Fantasy Film World of Bernard Herrmann.... during the piece after "Gort"(When Gort is walking around), you can hear the tuba player breathing, and it adds a LOT of creepiness to the piece!!!
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You sometimes notice the sound of the click track on some recordings. I don't mind as it feels that you are in the studio.
I do admit though that a long time ago I took back a copy of the original ALIEN soundtrack on cassette as I thought it was a tape fault at the start of Side 2. (Track title: The Droid)
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In moderation, it can give the recording a feel of being performed by living, breathing people, that turn pages, creak chairs, blow air in instruments and occasionally drop something.
Modern recording seem to lake studio noise, maybe because they have been edited out, passed though filters and all types of sound enhancing plug-ins.
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I remember in the old days, the floor at Smecky Studios used to creak audibly. Is that still the case?
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I remember in the old days, the floor at Smecky Studios used to creak audibly. Is that still the case?
Well, I certainly found it's best not to walk around the studio floor during recordings!
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I swear that you can hear noises all throughout Khan's Pets in Star Trek II: The Wrath of Khan. It's such a quiet track for so long it'd be hard to avoid.
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Posted: |
Nov 15, 2015 - 7:37 PM
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By: |
Dana Wilcox
(Member)
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55 DAYS AT PEKING has to be one of the noisiest scores ever recorded -- squeaking chairs, creaking music stands, etc., especially audible during quieter passages. Nobody has ever seemed to mind, and it has remained thus from the original Columbia LP, to the Varese CD, to the most recent La-La Land CD release... Another example that comes to mind is in the overture or main title (can't remember which at the moment) from TOM JONES, wherein there is a loud sound resembling a book being dropped and landing flat on the floor, right at a pause in the music. Sort of fits right in, actually.
I like those sounds and also the sounds of the music actually being made, such as the clear sounds of fingers sliding up and down guitar and/or cello strings in parts of WHO'S AFRAID OF VIRGINIA WOOLF? (the track "Moon Music and Prelude" for example). It does enhance the feeling of being present when the players are actually playing.
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