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So I might be a producer of crap but some people like it!
To be fair, he didn't say it was crap. He said it sounded like crap. I'm sure there's a difference.
No... If did write it.
Ford A. Thaxton
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It's not my favorite-sounding space, but generally I don't have a problem with how Smecky sounds.
Anyone else hving the same feeling about the brass?
I felt that way at one point, but James Fitzpatrick has noted the orchestra has better instruments now. And I think since John Timperley passed, the guys who have succeeded him have done a bit better job at taming this problem in the space. Or perhaps Timperley simply preferred the "in your face" brass sound.
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I'm a fan. I mean, with a name like Smecky, it has to be good. Right?
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Posted: |
May 21, 2015 - 8:01 AM
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By: |
Joe Caps
(Member)
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I have always wanted to mention this my self, but was afraid of the massive flaming that would follow.
First, Thanks to James to be daring and do these recordings.
The sound is very concert hall to me. What I ended up doing is buying the cds, then reediting them in my computer. I.E. with scores likie Taras Bulbe, Alamo, El Cid, the tracks that had an original on the old albums and cds, were replaced with the original.
the only thing that cracks me up is, they are constantly referred to as the famous Smecky studios, but I had never heard of them before these liner notes mentioned them.
I am also sad at the turn the latest releases have, recording scores that actually exist in some form already - Obsession, Duel in the Sun, Sodom and Gomorrah and now Blue Max.
I would rather see scores that are completely lost - but hell, everyone else seems to be just fine with these titles.
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I wouldn't say "crap", but Smecky's sonics aren't exactly first-rate.
I'd recommend they use the local Dvorák Hall of Rudolfinum instead, but it's much more expensive.
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I am also sad at the turn the latest releases have, recording scores that actually exist in some form already - Obsession, Duel in the Sun, Sodom and Gomorrah and now Blue Max.
I would rather see scores that are completely lost - but hell, everyone else seems to be just fine with these titles.
Except maybe for Blue Max, the others aren't available in exactly pristine sound from the original soundtrack tapes, are they? Plus, there's additional music on most of them, sometimes substantial extra music.
Also, some people STILL seem to be under the false impression that huge profits can be made with this kind of venture. Fact is, any such recording is about cutting your LOSSES to an acceptable minimum, not making *any* profit.
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There was a time (late '90s--early '00s) when the sound coming out of the City of Prague Phil and Smecky studios was, of necessity, more experimental. Some of the Silva Screen CD's missed the sound/performance mark, though even some of those albums would have individual tracks that stood out.
When those standout tracks did occur, it was usually due to a more rousing performance by the orchestra. However, the custom miking/mixing setups for many of the individual tracks on The Complete Film Music of John Barry, Volume Two, released in '96, pointed the way to a more refined set of future albums by the COPP group.
And then 1999 hit, and Fitz, Raine and the COPP did complete Zulu and Raise the Titanic albums, which elevated everyone's game. The acoustics/engineering on both those scores had been modified for the requirements of the individual scores, and the results were clear to the discerning listener.
Now, comes Obsession and Sodom and Gomorrah on CD and Blu-Ray, no less, and the whole Tadlow/COPP team may be about to take another leap forward. I'm hoping my expectations are exceeded as they were back in '99.
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As soon as I read: "Raine conducts the 75-piece City of Prague Philharmonic Orchestra in this new recording, produced by James Fitzpatrick and recorded at Prague’s Smecky Studios in stunning and dynamic digital sound..." I know it's going to sound like crap. The sound of all the recordings made at Smecky are always awful IMHO (doesn't sound too humble lol)
OK, why don't you just go and email the producer of these recordings and explain to him how awful these recordings are how you know so much more about how do it right;
Here is his DIRECT EMAIL: tadlowmusic@hotmail.com
Be polite, but since you have so much more experience, i'm sure he'll be interested in hearing your opinions.
Ford A. Thaxton
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There was a time (late '90s--early '00s) when the sound coming out of the City of Prague Phil and Smecky studios was, of necessity, more experimental. Some of the Silva Screen CD's missed the sound/performance mark, though even some of those albums would have individual tracks that stood out.
When those standout tracks did occur, it was usually due to a more rousing performance by the orchestra. However, the custom miking/mixing setups for many of the individual tracks on The Complete Film Music of John Barry, Volume Two, released in '96, pointed the way to a more refined set of future albums by the COPP group.
And then 1999 hit, and Fitz, Raine and the COPP did complete Zulu and Raise the Titanic albums, which elevated everyone's game. The acoustics/engineering on both those scores had been modified for the requirements of the individual scores, and the results were clear to the discerning listener.
Now, comes Obsession and Sodom and Gomorrah on CD and Blu-Ray, no less, and the whole Tadlow/COPP team may be about to take another leap forward. I'm hoping my expectations are exceeded as they were back in '99.
things started to really come together around 1997 with their SPACE AND BEYOND album and ever better after that.
Ford A. Thaxton
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Posted: |
May 21, 2015 - 3:15 PM
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By: |
PFK
(Member)
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I have always wanted to mention this my self, but was afraid of the massive flaming that would follow.
First, Thanks to James to be daring and do these recordings.
The sound is very concert hall to me. What I ended up doing is buying the cds, then reediting them in my computer. I.E. with scores likie Taras Bulbe, Alamo, El Cid, the tracks that had an original on the old albums and cds, were replaced with the original.
the only thing that cracks me up is, they are constantly referred to as the famous Smecky studios, but I had never heard of them before these liner notes mentioned them.
I am also sad at the turn the latest releases have, recording scores that actually exist in some form already - Obsession, Duel in the Sun, Sodom and Gomorrah and now Blue Max.
I would rather see scores that are completely lost - but hell, everyone else seems to be just fine with these titles.
Joe, Duel in the Sun now exist in some form? Where?
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