Popular Post Datameister 1650 Posted September 18, 2022 Popular Post Share Posted September 18, 2022 There has been a shift in the way trumpets sound in Williams scores. The difference is both subtle and impossible to ignore, and unfortunately, it's a change for the worse. I would like your help in figuring out what has changed. (This is where I give the disclaimers that this is all entirely subjective, that I have the utmost respect for professional trumpeters on both sides of the pond, and that there are non-Williams scores with similar trumpet issues.) The change became really noticeable with KOTCS, and it's stuck around in his (LA) recordings ever since. It's most noticable in loud passages for multiple trumpets, perhaps playing triads or octaves. There is a quality to the sound that is somehow both grating and underwhelming—aggravating yet anemic. Here are some examples of JW scores in which the trumpets do NOT have this problem: E.T. Temple of Doom Hook Jurassic Park The Lost World I have no complaints whatsoever about the trumpets in these scores, all of which were recorded at the Sony Scoring Stage with LA studio musicians. The sound is bright, clear, and modern, but not unduly fatiguing. As the new millennium hit, Williams recorded six scores in London: three SW prequels and three Potters. These too feature glorious trumpets, recorded mostly at Abbey Road and mostly with LSO players. Williams's next film was KOTCS. Suddenly, the trumpets took on a different sound: dull but strident, claustrophobic but distant, weak but distracting. It's hard to put into words. To be clear, these performances and recordings are still by professionals, but something definitely shifted. Unfortunately, this wasn't a one-off. Tintin, the SW sequels, the Adventures of Han … they all have the same problem. But we've also been treated to a few more London recordings—Galaxy's Edge, for instance, and Powell's adaptations for Solo. And what do you know? These sound great. I've become increasingly preoccupied with trying to figure out what's different on a technical level. Here are some possible factors that have occurred to me: Choice of recording venue Choice of mics Placement of mics Mixing choices Tape vs. digital Use of artificial reverb Preference for Bb trumpets in London and C trumpets in LA Choice of specific trumpet manufacturers/models Shifts in performer technique/style Shifts in compositional style But I don't see how any of these alone could account for the change. What do you think? It's understandably hard to find truly detailed information on a lot of these recordings, so despite all my listening and searching and pondering, I haven't been able to come up with an answer. Edmilson, MrJosh, crumbs and 4 others 7 Link to comment Share on other sites More sharing options...
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