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| This is a comments thread about FSM CD: Dragon Seed |
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What amazing sound.
Stothart took lots of stick re his tendency to use classics themes, but this score shows his real talent for creating unique soundscape.
Great remastering.
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The CD is much better than the poster art. Was this really expected to draw in the patrons?
The original poster must be one of the most ugly of the era. You'd think Hepburn would have been horrified to have such an appalling portrait of her on public view. Looking at the neck, it looks like ET wearing a Hepburn mask for Halloween.
No arguments with the aesthetics of the poster, but worry not---it is emblazoned on the back of the booklet, for all to see!
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It's really amazing to think that sound is 1944 from dual mikes.
Surely this must be some kind of first for a filmscore release on CD. It can't do old Herb's reputation any harm.
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wow, i'd better scrape up some $$$. i want this!!!
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Posted: |
Aug 2, 2010 - 11:58 AM
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By: |
Ed Nassour
(Member)
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Two mics! Is that not how "audiophiles" like their recordings to be made? A coincident pair or some such configuration.
Being a reformed audiophile, I can say, yes, there was a time when we liked just two microphones. But audiophiles are crazy people so take it for what it's worth. They're obsessed with equipment and less interested in the music played on that equipment. That's why I'm no longer an audiophile.
There is something to be said for limiting the number of microphones used. Today dozens are spread out covering just about every instrument. The big mixing consoles have as many as 96 separate inputs. Boards like the big AMS/Neve cost over a million dollars. And they become obsolete within a few years.
In the good, old days, most studios built their own boards. Or had Western Electric or RCA fashion something for them that was customized for their needs. They hardly ever used artificial reverb. Instead they gave us the natural sound of the room. They figured most theaters were cavernous and would add their own reverb.
The best orchestral recordings have been those using the simplest methods. The old Everest and especially the Mercury 'Living Presence' recordings which used 35mm three-track machines or 1/2" open reel three-track tape where just a handful of condenser mics were connected using no EQ, no artificial reverb, just the natural sound of the hall, are still remarkable when heard today. In fact, they put to shame just about any new soundtrack recording. I have several that were reissued on CD that when played sound like the orchestra is right in the room with me.
To this day, nothing has matched the sound quality of the orchestral recordings done for the Cinerama travelogues. They used six Neumann U-47s on booms spaced over the orchestra feeding the signals into custom built six-track 35mm mag recorders traveling at 26 frames per second.
About the only other scoring sessions that come close were the ones done at Kling Studios (formerly Chaplin) in Hollywood for Victor Young's "Around the World in 80 Days" and Morton Gould's "The Miracle of Todd-AO." For those sessions, Stage 2 on the lot was converted into a state-of-the-art scoring stage. A trade announcement made it clear that stage would be available for any company to rent. I believe the only other score to use it was Herrmann's for "Williamsburg: The Story of a Patriot" which used six-track magnetic sound for its run at the two specially equipped theaters in Colonial Williamsburg that projected the Paramount Vistavision short using horizontal projectors. After that, the stage at Kling was converted back for filming. Today that stage is cut up into several recording studios on what is now the Jim Henson lot. For a time, A&M owned the lot.
What's truly incredible is all those Cinerama travelogues had their scores recorded in a converted indoor tennis court located in Oyster Bay, New York.
Check out these photos:
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![](http://<A HREF="http://posteropolis.com/store/images/00dragonseedlc8.JPG" TARGET="_BLANK">http://posteropolis.com/store/images/00dragonseedlc8.JPG</A>)
