Experience the Timeless Magic of Oz with Revolutionary Sound!

Bridging Eras: From Vintage Mono to Immersive Soundscapes

The endeavor to update a 1939 monophonic soundtrack, originally captured with rudimentary equipment, for the highly advanced audio system at Sphere presented a formidable challenge. Sphere Studios, however, embraced this formidable task with a clear vision: to maintain the authentic essence of 'The Wizard of Oz' while elevating its sound to match the venue's groundbreaking visual capabilities. The aim was to deliver an auditory spectacle worthy of the film's enduring legacy.

The Unveiling: 'Oz at Sphere' Takes Center Stage

Set to debut on August 28th, 'The Wizard of Oz at Sphere' has garnered significant attention for its visual transformation, as the classic film's imagery is expanded to fill Sphere's colossal dome. Yet, the auditory aspect, equally crucial for a musical film, posed an equally grand challenge. Ensuring that the film's iconic songs and dialogue resonated powerfully within the world's most visually stunning venue demanded an approach as imaginative as Dorothy's journey itself.

Preserving Authenticity: A Delicate Sonic Balance

Paul Freeman, Principal Audio Artist at Sphere Studios, articulated the team's meticulous approach. Their strategy was not to completely overhaul the original audio but to enhance it. Warner Bros., the rights holder of the MGM classic, collaborated with Sphere to utilize modern technology, allowing for the isolation of dialogue, sound effects, and music. This process ensured that the integrity of Judy Garland's vocals and the Munchkins' distinctive voices remained untouched, with only subtle equalization and enhancements applied. Freeman emphasized that no artificial intelligence was employed, relying solely on skilled artistry to achieve their desired outcome.

Crafting New Realities: The Evolution of Sound Design

While the original dialogue and musical performances were revered, the sound effects from 1939 were sparse and less sacred. This presented an opportunity for Sphere Studios to create an almost entirely new sound design and foley track, leveraging the expansive spatial capabilities of the venue. This fresh layer of audio enriches the cinematic experience, drawing audiences deeper into the narrative through precisely placed sounds.

A Symphony Reborn: The Orchestral Re-recording Initiative

The orchestral score, being both foundational and somewhat limited by its original recording quality, necessitated a more substantial intervention. A significant decision was made to re-record the entire score. Remarkably, this undertaking occurred on the very same soundstage where the original 'Oz' was recorded, employing performance practices and even some instruments from the era. Julianne Jordan oversaw this recording, with David Newman, a specialist in vintage film music, conducting. Newman and a contract orchestra meticulously reproduced the warbling vibratos of the strings and the jazzy brass mutes characteristic of 1939, ensuring the new recording faithfully honored the original's musical character.

The Acoustic Marvel: Engineering for Universal Excellence

Freeman highlighted the importance of preserving the distinct musical character of 'Oz,' noting that everyone is intimately familiar with its sound. However, the unique spherical architecture of the Sphere introduced strict acoustic considerations. The venue's design eliminates any single 'sweet spot,' instead providing a consistent, high-quality audio experience for every seat. This design constraint demanded an innovative approach to spatial audio, ensuring that the immersive sound field was universally perceived.

Innovation in Sound: A 'Hug of Sound' Experience

To meet these rigorous demands, sound engineer Shawn Murphy recorded the music with an array of modern microphones, capturing the highest possible fidelity. The recordings were broken down into numerous isolated variables, such as short and long string phrases and brass segments. This process yielded 7.1.4 "stems," allowing for a broad, immersive, and sonically accurate rendition of the score, focusing on both width and depth of sound. Freeman humorously referred to their objective as creating "a hug of sound," aiming for an enveloping auditory experience.

Creative Liberties and Future Horizons in Sonic Storytelling

The multi-stemmed recording provided the team with creative flexibility. For instance, they could manipulate the violin stems to mirror the Tin Man's swaying movements, or have the wicked theme spiral dynamically as the tornado swirls around Mrs. Gulch. Carolyn Blackwood, head of Sphere Studios, envisions 'Oz' as a precedent for future cinematic transformations at the venue, calling it "the next frontier" in visual entertainment. While acknowledging the challenges, Blackwood expressed confidence in their ability to push boundaries while respecting the original source material's integrity, hinting at the truly "epic" result achieved.

A Lifelong Connection: The Visionary's Dedication to Oz

Having first seen 'The Wizard of Oz' at seven and watched it countless times since, Freeman possesses an intimate understanding of its sound. His year-long commitment to mixing the score on-site reflects this deep reverence. He firmly believes that this new recording of 'Somewhere Over the Rainbow' will be the definitive version, a testament to its spectacular quality. Despite enhancing the audio, intentional flaws from the original, like distorted dialogue from the Wicked Witch, were retained to ensure the recording's authenticity and familiarity. This commitment to the original's character underscores the team's dedication to honoring a cinematic icon.