Jump to content

LOTR recording location question


Dixon Hill

Recommended Posts

  • Replies 11
  • Created
  • Last Reply

Top Posters In This Topic

Is there any information on where each LOTR trilogy cue (other than the New Zealand Moria stuff) was recorded - at Watford, AIR, or Abbey Road?

Weren't Abbey Road sessions exclusively devoted to choral sessions?

We need Jim Ware on this!

Karol

Link to comment
Share on other sites

Yeah, it's definitely a Jim Ware question.

You may be right about the choral stuff - although weren't at least a few of the big ones from ROTK done with the choir in the room at the same time at Watford?

Link to comment
Share on other sites

Is there any information on where each LOTR trilogy cue (other than the New Zealand Moria stuff) was recorded - at Watford, AIR, or Abbey Road?

Weren't Abbey Road sessions exclusively devoted to choral sessions?

Karol

AIR was choral.

weren't at least a few of the big ones from ROTK done with the choir in the room at the same time at Watford?

You can hear Mount Doom without choir in the Use Well the Days documentary.

Link to comment
Share on other sites

  • 2 weeks later...

No public documentation of every individual composition, but I can tell you that no site was exclusively orchestral or choral.

Early on, Watford was used for both choral and orchestral--simultaneously, in fact, until the logistics of the room made it way too difficult to conduct. After that, it was mostly orchestral.

Abbey was primarily choral, but a few orchestral sessions crept in there. Air was the same, though I believe the orchestra recorded the big Mumakil bit from ROTK there as well. (The cramped space led to the untimely death of a harp, as I've heard it told.)

Henry Wood was used in a very limited capacity as well.

D

Link to comment
Share on other sites

What about private documentation of every composition? Any reason not to share some of that all these years later? :)

Link to comment
Share on other sites

  • 1 year later...

Following up a bit on this - I wonder if Doug or Jim has any insight on John Kurlander's methods beyond the mic map/bit of discussion in the book.  I'd be interested in what mics were used for what purposes, and particularly to what degree the spot mics (timpani, basses, low brass, winds) and room mics were relied on relative to the tree.  Perhaps any information about the (presumably hardware) reverbs used to add that sometimes cavernous depth and tail?  Just my mind wandering in some esoteric areas today.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.