Hey Y'all!
Don't know what to say about the discrepancies with some of the dialog on "Carousel of Progress". We did extensive research and located what everyone believed was the original script. We followed that to the letter. The live recording of the original exhibit we used as a reference also matched the script we had. So, with those elements as a reference, I built the track as it appears on the set.
The music cues are indeed what played at the fair without question. The differences you may be hearing is how I presented them on the album as opposed to how they were used on the attraction. My explanation might be more complicated than the actuality, but I'll give it a shot.
When you leave the opening version of "There's a Great Big Beautiful Tomorrow", the first theater is playing the more contemporary version, while the upcoming scene is playing the 1900s variation (in sync with the first theater's cue). As the theater rotates and you move to the next scene, these two cues essentially crossfade and you make the transition - the physical movement away for point A to point B. To do this on the album (without the benefit of the attraction itself) this crossfade sounds conflicting and doesn't really work as an audio only experience. I chose to let the opening version play through to the first scene . This meant though, that I had to eliminate the 1900s version altogether. From this point on, the version of the turn cue would be the next scene's cue — at the end of the 1900s scene, you heard the cue for the 1920s as you rotated to the 1920s scene. This way, you heard the entire cue without the awkward transition. If I did the transition as it appeared in the attraction, you would hear the first half of the opening version, then the last half of the 19o0s version. Then you would have heard the first half of the 1900s and the last half of the 1940s and so on. I felt it was a better representation of the song to play it through. I felt better about loosing the 1900s version this time around (as compared to the Disneyland set) because the music bed at least, is included on the disc as a separate track.
The Mouth Tone was the plague I had to deal with on the Disneyland Set. Jay recalled my conversation with him correctly. We tried to get it out on Disneyland, but because of the stretched tape (causing the fluctuating frequencies) we had to widen the EQ to get it all. The more we did that, the worse what we were trying to preserve sounded. So we struck a compromise — get as much out as possible with affecting what we want to save as little as possible. For the World's Fair, we found the original recording sessions and I was able to replace all of the worst offenders. The dog is problematic as it is a sound effect (not recorded dialog) and the only versions where from the attraction soundtrack.
Thanks for your comments! I hope this explains some of your questions.
Randy
PS — did you notice the additional music in the 1920s scene? When the appliances go off, the music bed that was used was edited in the original attraction. I had the original session, so I included the entire cue as it was recorded.
