The Sphere Worked Modern Magic on the Soundtrack for ‘The Wizard of Oz’

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It appears as if only a true sorcerer could magically transform a 1939 mono soundtrack, originally recorded on primitive equipment, into a modern, state-of-the-art audio score suitable for one of the most advanced, immersive sound systems worldwide. Yet, Sphere Studios dared to make this dream come true when they endeavored to reimagine The Wizard of Oz as an experience within their high-tech entertainment bubble in Las Vegas.

On August 28th, the cinematic adaptation of “The Wizard of Oz” titled “The Wizard of Oz at Sphere” will be premiered. The adaptation of the classic film’s visuals to fit the vast, domed screen of the Sphere has generated quite a buzz, and it’s an impressive feat in itself. However, what might not be as widely recognized is that “Oz” is fundamentally a musical movie, and adapting this aspect for the world’s most visually striking venue was just as much of a magical undertaking as transforming Dorothy’s vibrant landscape to suit 40,000 pairs of eyes.

Paul Freeman, Principal Audio Artist at Sphere Studios, clearly stated that we won’t use a 1939-style audio track in the venue. However, he also made it clear that we wouldn’t mimic Judy Garland’s voice or her style of singing.

Warner Bros., the owner of the MGM classic and licensor to Sphere, collaborated with the venue to utilize contemporary technology to isolate dialogue, sound effects, and music. This ensures that all unique dialogue and vocals stay pristine, requiring only minimal EQ adjustments and enhancements. Freeman clarifies that there’s no use of artificial intelligence or monkey business in this process; instead, they rely on ordinary tools.

Freeman remarks, ‘That’s Judy Garland singing.’ He adds, ‘It sounds like authentic Munchkins speaking, though I must admit, I’m not sure if there really are such beings. I wish I could tell you about some hidden truth, but unfortunately, it’s just talent, creativity, and that’s all.’

As a devoted movie enthusiast, I found myself captivated by the 1939 film’s innovative approach to sound. Compared to contemporary films, the sound effects were less dominant, with a scarcity that was striking on the original soundtrack. However, this provided an opportunity for a near-total overhaul of the sound design and foley track. Leveraging the expansive spatial landscape of the venue, the creators breathed new life into the film’s audio experience.

However, when it came to the orchestra, the initial soundtrack felt both precious and inadequate. Consequently, a costly decision was taken to re-record the entire score from scratch. Remarkably, this was done on the very same soundstage as the original “Oz”, employing the same performance techniques, and even utilizing some of the identical instruments.

Julianne Jordan oversaw the entire recording process, while David Newman, an expert known for his work in restoring old film music and employing traditional performance methods (traced back to the 1930s Hollywood era), took charge of conducting. Newman and a hired orchestra gathered on the Barbra Streisand Scoring Stage, a historic location once used by Judy Garland for her vocal recordings with composer Herbert Stothart. Here, Newman skillfully recreated the wavering vibratos in the strings and the fashionable jazzy mutes in the brass instruments, as they sounded in 1939.

Everyone’s familiar with the unique sound of Oz, Freeman points out. “Its musical quality is striking,” he explains. “That’s why we aimed to make its sound reflect the character from the initial movie. From an acting perspective, it feels authentic.

However, he explains, the Sphere structure imposes certain limitations due to its circular design, specifically in terms of temporal activities.

According to Freeman, “This space offers an unparalleled, enveloping listening environment.” He points out that one challenge with Sphere is that there isn’t a ‘sweet spot’ – every seat provides an optimal listening experience. This means that when elements are placed within the venue spatially, everyone present enjoys the same immersive experience.

Shawn Murphy, the sound engineer, ensured to fulfill these requirements by recording the music using a variety of contemporary microphones at their maximum quality. He also recorded each element in numerous scenarios that could be imagined, such as brief string passages, extended strings, brief brass tones, and extended brass. This resulted in a comprehensive set of 7.1.4 “stems”. Freeman explains, “This offers an incredibly expansive, enveloping, accurate rendition of the score. It’s not just about width; it also provides the depth.

Freeman’s aim was to make what he calls “a hug of sound.”

The innovative, multi-branched recording device enabled Freeman’s team to explore their creativity. For instance, he could manipulate particular branches for the violins when they danced with the Tin Man, while leaving the rest of the orchestra untouched. Similarly, during the scene where Mrs. Gulch cycles in the tornado, her wicked theme twisted harmoniously as the wind swirled around her bike.

Oz serves as an experimental platform for potential reimaginings of classic films within the Sphere, with Carolyn Blackwood, now leading Sphere Studios following her extensive tenure at New Line Cinema and Warner Bros., describing it as “the next phase in the evolution of how we engage audiences through visual storytelling.

Blackwood explains, ‘We’re walking on thin ice here,’ he says. ‘Our aim is to stay true to the essence of the source material and make it shine while also exploring new grounds, without compromising its authenticity too much. I’m not ready to celebrate just yet, but this could be something truly spectacular.’

Freeman has been perfecting the mix on location for approximately a year now. He initially encountered “Oz” when he was just seven years old, and since then, he’s watched it numerous times throughout his life. This has made him very knowledgeable about its sound, and he feels confident in their work. “I believe that our recording of ‘Somewhere Over the Rainbow’ is unrivaled, and I don’t think it will ever be surpassed,” he asserts. “That’s not a boastful remark; it’s simply remarkable. It’s exactly what it ought to be.

To demonstrate his respect for the original, he highlights imperfections such as certain parts of the Wicked Witch’s speech having a harmonically distorted sound. In an effort to preserve the authenticity, these distortions are left unaltered.

He mentions that they’ve made some adjustments, but they seem off in the movie. Regardless of who you are, you can tell what a film should sound like, he notes. If you tinker too much, it no longer feels like watching The Wizard of Oz.

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2025-06-25 17:25