Page 26 - 2013 Spring

been a requirement for multi-track or quasi-multi-track techniques. The earliest disc and optical recording often used multiple recorders either as backup or to receive sepa- rate and complementary material. Although the earliest mechanical synchronization methods did not allow for a cohesive stereophonic recording, the implementation of multi-track recording in notable productions such as “Fantasia,” allowed for more depth and dramatic effect when synchronized with picture.
Progressively, the introduction of magnetic recording in multi-track (3/4/6 track) and large format magnetic analog recording (8/16/24 track) have allowed for a diverse stereo and multi-channel sound field for music presentation. Beginning with multi optical recorders and continuing through multiple magnetic film recorders and multiple large format multi track recorders, more and more tracks have been utilized in the production of film scores. One hopes that this track utilization is all in the interest of best sound quality. However, in some cases, it merely represents the adage that one will always fill the maximum available num- ber of tracks.
Fast forward to current day, we have witnessed a revo- lution in recording technology while still utilizing similar musical and dramatic techniques to obtain the dramatic
and musical effect.
Digital recording, via reel-to-reel recorders and current
workstations, provides a virtually unlimited track count and state-of-the-art audio quality in the scoring industry.
Our current record format for orchestral/acoustic music is often 192kHz/32bit in a multi-track format of multiple 96- track workstations. One current production utilized two 96- track 192kHz workstations plus a 128 channel 44.1kHz/24 bit workstation to build multiple stems for presentation to the final dub of 64-track at 96kHz/24bit.
As an example of recording formats used during a recent project (See Fig. 3):
Elements of the live score included: • 95-piece orchestra
• Ethnic percussion
• 40-voice choir
• Ethnic winds
• Early instrument Consort (12 piece)
• Cello solo
• Piano Solo (1 and 2 Piano)
For the Orchestra, the entire 95-piece ensemble was
assembled and recorded both as a single unit and as section- al stems. Often, the cue was rehearsed extensively and recorded as a single unit, and then it was broken into record-
Fig. 2 Fox Scoring Stage.
Motion picture scoring stages 25