From: Freya (email suppressed)
Date: Fri Sep 05 2008 - 07:40:21 PDT
Thats intresting! I know that Woody Allen likes to make his films in Mono, and perhaps this is a reason, The film is projected in a fixed space at the end of the cinema so maybe a single point of sound origin seems more fitting than sound happening all over the space?
Of course the music is usually not coming from the space shown within the film itself anyway but is there for atmosphere, in which case it might quite rightly fill the cinema space.
It is an intresting thing to think about.
I grew up with stereo and other multi channel formats so I don't have the same associations, so I'm glad you talked about this as it helps me to think about sound in different ways!
Thankyou.
love
Freya
> Re: Reading about Robert Nelson's 1/4 in. tape sound
> compared to the old optical tracks reminded me of the
> following:
> I was about 15 years old and already a movie tech fan when
> CinemaScope came in with its high fidelity sound tracks.
> (This is also the time when hi-fi and LPs began to replace
> 78s.)
> I had grown up, of course, with the compressed and
> de-SSS'd music and dialogue in feature films,
> with very limited dynamic range and top end. I
> didn'tknow any different. Sound track music sounded sort
> of generic orchestral.
> It was the aural equivalent of shallow depth of field
> making the background in a shot, soft.
> You could recognize the presence of the setting, but you
> were drawn to the characters' sharp faces.
>
> Well, I remember seeing the first few films, (The Robe,
> among others) and being aware that the hi-fi
> stereo sound drew my attention to the individual
> instruments themselves, rather than the more diffused music
> as "atmosphere"'.
> Those were violins playing, now, and those are english
> horns, etc., which spoiled the movie illusion for me
> as I was made aware of the orchestra and the musicians
> separate from the images, actions, story on the screen in
> front of me.
>
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