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Favorite recording engineers
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Topic: Favorite recording engineers
jonathan_little
Wizard
The guys who record and mix the scores we love are obviously an important part of the CDs we listen to. The sound quality of an album can be influential on how often I listen to it. I love some recording styles, while others annoy me...My favorites:
- Dennis Sands - Alan Silvestri's engineer. I really think this guy is the best out there. Recordings like Judge Dredd, The Mexican, and now Mummy Returns all sound fantastic to my ears.
- Bruce Botnick - Jerry Goldsmith's choice. I have no complaints about Botnick. He's recorded some of the best sounding discs on my shelf, like Small Soldiers.
NP: Superman
posted 05-10-2001 08:03 PM PT (US) H Rocco
Wizard
Shawn Murphy may be the best in the business. Eric Tomlinson's aces, but doesn't seem to be working much these days (that I know of).
posted 05-10-2001 08:16 PM PT (US) Marian Schedenig
Wizard
Is it Murphy's fault that you can hardly distinguish the various instruments on Williams' more recent recordings? As I've been saying all the time, his recordings "sound" great, but you often can't HEAR a thing. Earlier discs sound great of course, particularly Hook.Botnick is great of course. And who did that gorgeous Starship Troopers? Chicken Run (recorded and mixed by Nick Wollage) sounds fantastic as well.
posted 05-10-2001 09:00 PM PT (US) JJH
Wizard
I think Williams' CDs sound great.9 times out of 10 with even the best engineered classicl discs, you are missing SOMETHING in the orchestrations anyway...
which makes live concerts so fun and fascinating.
NP -- The Flim-Flam Man, Goldsmith
posted 05-10-2001 10:09 PM PT (US) Shaun Rutherford
Wizard
Listen to Dennis Sands' recording of the Rosewood score, then go listen to Murphy's recording of The Patriot. I rest my case.Other than Sands, we have Robert Fernandez, who does all of Goldenthal's superb recordings.
Those two are doing right by film music.
Shaun
posted 05-10-2001 11:17 PM PT (US) Pete M
Wizard
quote:
Originally posted by Shaun Rutherford:
Other than Sands, we have Robert Fernandez, who does all of Goldenthal's superb recordings.A definite thumbs up for him, those Goldenthal recordings all sound ace!
Although, Marian - I alway had thought that the sound on Starship Troopers wasn't that great, a bit on the "muddy" side...
posted 05-11-2001 04:50 AM PT (US) Guenther Koegebehn
Wizard
Kenneth Wilkinson
posted 05-11-2001 05:08 AM PT (US) wistiti
Wizard
Robert FernandezGeoff Foster
Mike Ross-Trevor
Dennis Sands
Richard King
Keith Grant
John Richards
Bruce Botnick
Alan Meyerson
Ralph Couzens and Stephen Rinker
The two who work for Naxos and record all the Marco Polo CDs in Moscow.
The worst:
Shawn Murphy (with some early exceptions)
Simon Rhodes (with some exceptions like Cutthroat Island) posted 05-11-2001 06:28 AM PT (US) Shaun Rutherford
Wizard
The thing with Simon Rhodes is that all of his Horner recordings are terribly muddy, but his recordings of The Cell and Angela's Ashes were just fine. Weird.Shaun
posted 05-11-2001 10:30 AM PT (US) Stephen Lister
Wizard
And let's not forget Dan Wallin. THE OMEGA MAN's superb sound is down to him. Not to mention ENTER THE DRAGON, THE WILD BUNCH, DIRTY HARRY, COOL HAND LUKE...
posted 05-11-2001 11:40 AM PT (US) new york islanders
unregistered
The Best of the Best:Shawn Murphy
Bruce Botnick
Dennis Sands
Keith Grant
Mike Ross-Trevor
Michael Farrow
Bobby Fernandez
Eric Tomlinson
Dan Wallin posted 05-11-2001 01:36 PM PT (US) OHMSS76
Wizard
Lets not forget Dick Lewzey, who did some incredible work with Barry,Bernstein,Jarre at CTS in the 70's and 80's.....that man produced some incredible,punchy sounds. His work with the RPO make up some of my all time favorite scores.
And he recreated a touch of that magic with Chris Young's BLESS THE CHILD, also done at CTS. That must have been just about the last score recorded at that room, before it was levelled.
Sean[Message edited by OHMSS76 on 05-11-2001]
posted 05-11-2001 01:43 PM PT (US) jonathan_little
Wizard
quote:
Originally posted by Stephen Lister:
And let's not forget Dan Wallin. THE OMEGA MAN's superb sound is down to him. Not to mention ENTER THE DRAGON, THE WILD BUNCH, DIRTY HARRY, COOL HAND LUKE...Indeed! Regarding The Omega Man, I can't believe that Grainer and Wallin achieved such a fantastic sound with only 49 players.
NP: Basic Instinct
posted 05-11-2001 05:58 PM PT (US) Shaun Rutherford
Wizard
Sean,
The last score that was recorded at CTS was The Legend Of Bagger Vance. Great score, great recording.Shaun
posted 05-11-2001 06:54 PM PT (US) Marian Schedenig
Wizard
quote:
Originally posted by Shaun Rutherford:
Listen to Dennis Sands' recording of the Rosewood score, then go listen to Murphy's recording of The Patriot. I rest my case.My sentiments exactly. Interestingly, the Summon the Heroes album sounds great and perfectly clear, though it's rather recent as well.
quote:
Other than Sands, we have Robert Fernandez, who does all of Goldenthal's superb recordings.Oh yes! Sphere in particular.
Pete: When I play Starship Troopers, it sounds like the percussionist sits right in front of my windows.
I wouldn't call it "muddy" either - that's a good adjective to describe the recent Williams/Murphy discs I think. ST sounds wonderfully clear to me. A bit heavier on the bass than the trebles compared to other scores perhaps, but that seems to be just the acoustics of the orchestration and/or recording stage. posted 05-11-2001 07:14 PM PT (US) Marian Schedenig
Wizard
Another attempt to clarify what I'm talking about: Take out your CD with the original Star Wars score and listen to the main title. Note that cool timpani counterpoint. Now take out Empire Strikes Back, play the main title and hear how Williams changed the orchestration so that the same counterpoint is now played by the basses (I preferred the timpani, BTW). And finally, listen to the main title from Phantom Menace and try to hear that bass counterpoint. See?Pianos seem to vanish very easily on bad recordings, too. I had been listening to the Star Wars Trilogy disc for years (and at this time still didn't have the original recordings) when I suddenly realized that there are very cool but barely audible piano parts in Imperial March and Asteroid Field. You can hear them a bit better on my new system, but they're still very faint.
Of course it depends on the playing of the orchestra as well. Nikolaus Harnoncourt said in an interview during the break of this year's New Year's Concert in Vienna (which he conducted) that he dislikes how many conductors have their orchestras playing so loudly that you can hardly hear half of the music. He also said that he doesn't see why the composer wrote it if you can't hear it. And that's exactly what I'm thinking as well.
posted 05-12-2001 07:08 AM PT (US) H Rocco
Wizard
The aforementioned Dick Lewzey -- absolutely! His recording of Jarre's MAD MAX BEYOND THUNDERDOME is one of the most gorgeously ear-cracking CDs I've ever heard!
posted 05-12-2001 01:19 PM PT (US) Dinko
Wizard
Mind if I bring back and old topic?quote:
Originally posted by wistiti:
The worst:
Simon RhodesFunny how time changes opinions.
1) Richard King.
Working primarily for Sony Classical, King's recordings are both wide and deep, with a highly natural sound to them. King's recordings are the ones that most remind me of the experience of listening to an orchestra live.2) Jonathan Allen.
I like his concert hall settings. Lacks a bit of power, but offers clarity, and instrumental detail.3) Michael Sheady.
See Allen above.4) Joel Iwataki.
Mighty and powerful recordings for Elliot Goldenthal, though at times the brass can sound too aggressive.5) Simon Rhodes.
The dynamic range of his recordings annoys me, but other than that he offers a good balance between power and clarity.Could go on. But these are the five I notice I like most.
Any changes in your favourite engineers?
posted 11-19-2002 04:21 PM PT (US) Marian Schedenig
Wizard
Ah goody, was already worried about your dismissal of Rhodes.
And don't blame him for a great dynamic range, blame your neighbours. 
posted 11-19-2002 04:48 PM PT (US) jonathan_little
Wizard
I still love the sound of Dennis Sands!And I recently found out that Dan Wallin recorded one of my favorite film scores and the first digitally-recorded piece of film music, John Barry's THE BLACK HOLE.
Danny, you rock as well.
NP: Our Man Flint (RIP)
posted 11-19-2002 07:24 PM PT (US) Dinko
Wizard
Didn't Horner get smacked for calling him Danny?Marian - yeah, my neighbours are one problem.
My Panasonic craposystem is another.But then there's the portable audio too. The subway is noisy. Can't hear the low volume parts, push up the volume and then BOOM!
(Why can't they make silent public transport?
) posted 11-19-2002 07:37 PM PT (US) jonathan_little
Wizard
OK. Dan, you rock as well. Sorry for calling you Danny.Also I have to give a thumbs up to Dick Lewzey as well. As far as I know, the only disc I own with a mix of his is Living Daylights, but it sounds fantastic.
posted 11-19-2002 07:52 PM PT (US) Erik Woods
Wizard
I adore all of Bruce Botnick (E.T. is his best), Robert Fernandez, Geoff Foster and Mike Ross-Trevor recordings but there are two that I think are the most consistent engineers that deliver the goods each and everytime...Steve McLaughlin (Kamem's engineer) and Dennis Sands.
Sands’ recording of The Mummy Returns was top notch. The film version of the end credits is the perfect example of how an orchestra and chorus should sound together. Spine tingling!!!
And I agree with Shaun... Sands’ recording of Rosewood was dynamite!!! Why the hell does Williams continue with Murphy, and now Rhodes, when he can get Sands? Maybe Williams is deaf too!!!
-Erik-
posted 11-19-2002 08:14 PM PT (US) jonathan_little
Wizard
I can't remember if I've posted this before, but anyhow.Here is a nice interview with Dennis Sands. Some of the stuff is way over my fanboy head (like microphone discussions) but I found the rest of it to be very interesting.
NP: Star Trek V
posted 11-20-2002 08:20 AM PT (US) Dinko
Wizard
Interesting interview. (Except the part where he got all geeky about his microphones.
)
posted 11-20-2002 06:01 PM PT (US) Old Infopop Software by UBB
- Dennis Sands - Alan Silvestri's engineer. I really think this guy is the best out there. Recordings like Judge Dredd, The Mexican, and now Mummy Returns all sound fantastic to my ears.