Recent UFO soundtrack discussions

Many of the postings over the last couple of weeks have been about Fanderson's UFO soundtrack CD, and the benefits or otherwise of the new stereo mixes. As many of the 'facts' presented have been based on misinformation, misconception, or just plain misunderstanding, I thought it timely to put the record straight.



First of all, why produce a soundtrack CD? This probably sounds like a stupid question, but it helps to be clear as to why these CDs are being produced. Soundtrack albums are not only for fans of the films/programmes, but so that music aficionados can enjoy the music as recorded, including missing, deleted, or truncated cues. They are so that the music itself can be appreciated, not just as part of a TV programme.



Almost two years ago I asked the SHADO YahooGroup for advice on the then forthcoming CD. The majority of respondents expressed a preference for a double CD, so as to keep the retail price within reason, although understanding that this might mean a further release at a later stage. So, although previous club releases had included music recorded by Barry Gray for other Anderson series, we made the decision not to this time, so as to make as much space on the discs available for the music recorded specifically for UFO (including unused cues).



Before going any further, there are a number of terms that have been bandied around over the last couple of weeks that many people may not fully understand. It is crucial that these are understood, so that the rationale for the remixes is also understood.

'Drop out' is tape damage, often caused by the oxide coming away from the backing tape. The result is a loss of signal - in this case, music.

'Compression' is an effect applied to music so as to make the quiet passages sound loud, and the loud parts slightly quieter through limiting. The overall effect is to make all of the music sound around the same level, and quite loud. This is fine when mixed with effects on the TV show, and gives the desired effect of making the music heard over sound effects and atmospheres on the programme soundtrack. However, on a CD this can be harsh, and very uncomfortable to listen to for any length of time.

'EQ' is equalisation. As the music was designed to be heard through a 1970s (usually poor frequency response) mono TV speaker, the very low and high frequencies were attenuated.

'Reverberation (reverb)' is the way a sound naturally decays as an instrument is played, such as in a concert hall due to the reflections of sound. This can be created electronically to give a more natural sound to a recorded piece of music.

'Mono mix-down/mono mix' is the result of mixing several individual instrument tracks to one single track.



With our playing time limit set, we looked at the available music. As usual for a club release we went straight to the studio masters wherever possible to ensure the highest possible quality source material. Whereas some music was available in multi-track format, other cues were only available as mono mix-downs, and some were not available at all.



There were four reasons why we decided to remix the multi-tracks into stereo for this release:

1 the quality of the mono mixes was inferior. They were compressed, suffered from drop-out, poor tape splices, and were mixed and EQd for 1970s television

2 because the multi-tracks were available we were able to remix to stereo, improving on the quality of the mono mix-downs

3 because the mono mix-downs already existed, both on the soundtracks of the episodes themselves, and as bootleg CDs, the Fanderson disc endeavours to offer something that is not already available

4 responses from the SHADO YahooGroup, and from club members, indicated that stereo mixes were preferable to the majority



Contrary to popular belief, Barry Gray did not mix the music. He composed it and conducted the recording sessions, but the mixes were created by engineers at the recording sessions, and by dubbing mixer George Randall. This is very evident from the studio master recordings, where Barry can be heard advising George how a cue might be used, how much reverb to add to the end etc. It is quite clear that some mixes were done in a hurry, often with far too much reverb being applied to percussion, and certain instruments very low in the mix, as microphones were placed too far away. With time, care and attention, the remixes have corrected many of these errors. The new mixes may not sound as they do in the mono mix-downs, simply because the mono cues were defective.

So, as you can see, any suggestion that the music should only be available as Barry finished it would require a multi-track format, such as DVD Audio, or SACD - neither of which are widely available (or financially viable for a club release) at present. And then even then this wouldn't sound right, as the individual tracks would need to be balanced and positioned to make sense to the ear, through some form of mixing.



By using the studio master recordings:

1 the new music cues have improved upper and lower frequencies, so the instruments sound more as they did when originally recorded

2 the stereo mixes have improved separation of the instruments (partly due to positioning of the instruments in the stereo field, and partly due to better equalisation)

3 there is a greater dynamic range, ie quiet passages are very quiet, and loud passages are very loud, because these are not subject to the same overall compression inherent in the mono mixes.

Each individual cue was assessed in mono, and the stereo mixes were carried out to approximate the mono mix as closely as possible. However, the music is never going to sound exactly the same as the mono mixes, because of the above reasons.



Appreciation of music is highly subjective, and in my opinion you are now hearing a high quality new mix, which retains the same overall sound, feeling and balance of the instruments that you would have heard in the original episodes. Although the CD can be enjoyed anywhere, to appreciate it to the full it should be listened to on a good quality hi-fi system, not in a PC or car music system, neither of which are endowed with particularly good amplification or speakers. Similarly, the compression used by the MP3 format negates any serious comparison using downloaded files from the internet.



Some people have queried the credentials of those who have worked tirelessly over the past two years to bring this album to fruition. To reassure everyone, Barry's music has been treated with the utmost respect by professionals working in the music, film and TV industry, and using state of the art studios. This music was not mixed in somebody's bedroom! Mike Cox is an engineer who works for Abbey Road Studios in London. Some of his recent projects are 'Lord Of The Rings - The Two Towers', 'The Phantom Menace' and 'Attack Of The Clones'. He also has numerous projects to his name for EMI Classics. Andrew Lang works at K&A Productions, and has worked extensively on restoring old recordings and creating new mixes of classical music for the CD label Naxos. Multi-track music was mixed at Phoenix Studios (formerly CTS Studios, where Barry recorded some of the original material). Restoration was by Kindred Productions, who have performed the same role on most of the club's soundtrack albums, as well as producing our video and DVD projects, and Silva Screen's recent 'Thunderbirds' soundtrack CD. The packaging was designed and written by Chris Bentley, author of 'The Complete Book Of Thunderbirds', 'The Complete Book Of Captain Scarlet', 'The Complete Gerry Anderson Episode Guide' and the forthcoming 'The Complete Book Of UFO'. It should go without saying that were Barry Gray still alive he would have been invited to participate in the production, just as Derek Wadsworth was for the Space:1999 Year Two album.



Of course, the final result is subjective, and there will always be those who want to remain true to the original mono mixes no matter what, and in their eyes anything else will be inferior. The fact remains, however, that the new mixes are to a high technical standard that the majority of fans will enjoy. I believe they enable the full range and beauty of the original music to be heard for the first time, on a modern format that couldn't have been dreamt of at the time it was recorded.



It is rather disheartening that after almost two years hard work, a vocal minority seem to be so unappreciative. It feels a little like giving a spoiled child a lovingly crafted toy that they've been asking for, only to watch them throw it on the floor and trash it.



Thankfully the negative reviews are coming from less than one percent of those who have bought the album so far, suggesting that over 99 percent are happy with it. Of course, everyone is entitled to his or her opinion, but I do hope that these opinions won't spoil enjoyment of the CD for everyone else.



Nick Williams, Fanderson secretary and treasurer

[Non-text portions of this message have been removed]

Hi,

All I said about teh UFO CD was that the drums were very loud in some parts.
That's not a criticism. It's an opinion. It didn't ruin or invalidate the
entire CD. Sorry if saying that offended somebody somewhere. Didn't mean
to.

I've still not listened to CD2 yet, but I definately think I like the tracks
from Exposed best. For no particular reason. I have found, strangely
though, that I get the best sound quality from my PC speakers. My hifi got
a bit bashed in the move from London.

I don't think anyone was saying that they didn't like the CD or meant their
comments to be negative. But it'd be a pretty short and sweet discussion if
everyone just said 'I liked it'.

Personally I bought it to use primarily when I write, as mood music, and it
serves that purpose brilliantly, so I'm happy. [I even managed to use my
jukebox program on the PC to turn teh drums down a bit]

Jess

It's good that Nick (representing Fanderson) has responded to the
discussions - thanks to him.

It is very easy for "customers" to receive a finished product and not
appreciate (for whatever reason) the amount of work that may have
gone into producing it. I think the main problem where multi-track
recordings are newly mixed in stereo for the first time is the
acceptance that this can only be an alternative presentation, not
necessarily a faithful reproduction of what was originally intended -
i.e. a mono final mix. Who could have predicted during the production
of the show that any tv series of this kind would, in years to come,
achieve cult status and the sort of fan base that would demand
soundtrack releases of theme and incidental music in the first place?

I fully agree with Fanderson's reasoning to use the 4-track masters,
to preserve quality and provide something new that hasn't been
previous available - stereo remixes. Also, as Nick says, the
separation between left and right is always going to make these
versions sound slighty different than the mono whatever balance is
achieved, but I would always try to get as closely as possible to the
original myself. Unless of course you make a concious decision to
change the mix completely because alternative verions are being
created.

The only thing I don't agree with is this statement:-

"It is quite clear that some mixes were done in a hurry, often with
far too much reverb being applied to percussion, and certain
instruments very low in the mix, as microphones were placed too far
away. With time, care and attention, the remixes have corrected many
of these errors. The new mixes may not sound as they do in the mono
mix-downs, simply because the mono cues were defective."

Who's to say that these mixes were done in a hurry, and the level of
reverb on the percussion or instruments mixed down wasn't deliberate
and exactly as intended? I think using the words "error"
and "defective" is rather over-the-top, because for whatever reasons
the mixes were done that way (and surely that's anyone's guess) they
were the ones used in the episodes and therefore are the originals.
It all comes back to the "alternative presentation" again.

Fanderson are indeed owed a lot of thanks for making this and other
similar items available in the first place. Other cult tv shows
should be so lucky!

Jonathan

Thanks to Nick Williams for his very detailed account of the 'making' of the
UFO soundtrack album. My thoughts on the album have been expressed in
various posts, especially one dated 15th June, and I'd like to say that
having heard the album several times (and as I said, I listen on a hi-fi
system through headphones) my opinion remains that this is a superlative CD.
In fact my opinion has actually gone UP a few notches!

As I have said before, perhaps its because I listen to the CD (as I did with
the other Fanderson CDs) as a film-music afficianado first, and as a fan of
the series second. So if I could repeat the end paragraph of what I wrote on
the 15th June:

"Its a great CD, a fine tribute to the series and to its composer and a
credit to those who made it happen. The whole package oozes quality. If the
UFO score ever sees the light of day through a full commercial release (as
Silva Screen are reportedly planning) it will be neither as fullsome or
complete as this one".


Simon

It good to see Nicks comments re the recent debate on the UFO CD, but
a little suprised to see a defensive views towards the end of his
posting. As such I think Nick has amplified what are essentially minor
concerns. I did'nt see anyone having a go Fanderson or the CD per-se.
I don't think anyone said it was'nt hard work or a labour of love.

In fact I have yet to see a posting that was out right critical of the
project, in fact all that I have read and seen was carried out in a
objective and civilised manner, with praise given were it was due, and
there was plenty as that. Bearing in mind that most people who have
bought the CD paid at £31 plus a Fanderson membership - I reckon they
have put there money were thier mouth and can have thier say. As
Amelia pertinently points out it is the members who underight the club
with thier wallet. Bear in mind when when you put a CD into the public
domain by the virtue that we live in a democracy you invite personal
opinions - some are better informed than others but all have a
validity.

For the record I listened to the CD on a Marantz HDAM 63 special
edition signiture CD player, bounced [pre amped] through a Sony TC-299
Open reel player [taken out of a recording studio] using a NAD 314
Amp, hooked up to Tannoy 314 SE speakers, all with 24c gold
interconnects. So the playback I was getting was adequate :-)


As someone who worked in the recording industry [go back through my
postings] and with out wishing to sound egotistical I pretty much  
second guessed most of the points Nick raised. I could go through
Nicks points, but on refelction it would be futile. The CD is out,
and is what it is and in the most is a very neat project. I with some
others had a desire to hear the CD in a more original format that was
not to be.

As I said in my first posting lets keep this in context and that
includes Fanderson.

Lets move on :-)

The Lunadude.