Okay, so the original mix actually contained only 3 channels of audio, not 4; no mono surround. Just channel 1, 2, and 3, with a fourth “control track” burned in to adjust the dynamic range when need be, as seen above. Those three channels were then mixed live during the night of the world premiere in NYC. According to Bill Garity, who led the charge in the production of the Fantasound system, the only time the film actually played in surround was during the Ave Maria segment, where the sound of the pilgrims choir began at the back of the room and then slowly moved their way down to the screen as the sequence progressed. Then, for the Carthay Circle Theatre premiere in Los Angeles, automatic mixing replaced manual mixing, but again, surrounds were apparently only turned on for the finale when the bells begin to chime near the end of the Bald Mountain segment. So to recap, the final Fantasound had only 3 channels of audio, but panned around a room containing anywhere between 5-96 speakers, if not more (the answer is always different depending on who you ask). And yes, when the film entered wider distribution through RKO, a mono mixed was prepared in ‘41.
The 2000 5.0 mix, technically, respects most of the original theatrical mixing approach by having the sound play entirely in the fronts, with all the left, centre, and right pans left intact. Unfortunately, when it comes time for the bells to start ringing at the back of the room near the end of Bald Mountain, and the choir to move from rear to front channels in Ave Maria, nothing. The audio is still anchored to the front stage, and that is not what was intended. On top of that, the music sounds like a little too much digital noise reduction and filtering was applied, hampering the impact of Stokowski’s arrangements and aggressive execution. Honestly, the score sounds like it’s being shot out of a metal tin can in that mix; no low end frequencies to give it any weight, and since there’s no high end frequency information left in these recordings to play with anymore, the whole thing just sounds pretty flat. The 2010 mix tries to correct these problems with better EQ’ing, but the directional effects of the mix that Disney and Stokowski intended are almost entirely lost. Very little movement from left to right, and it has a different problem than the 2000 mix had— now there’s sound playing simultaneously from every direction. You’re filling the space with Stokowski’s music, yes, but once again, not as originally intended, where the mix would mostly be entirely in the front, but then sometimes find its way to the back, then sometimes just the front right, then just the rear left, and so on. I can think of one instance in Nutcracker where the sound actually swirls around the room in the Dolby Stereo remix. That effect is lost in every mix post 1991 LaserDisc/VHS.
So yeah, neither the 2000 or 2010 releases got the audio right. The closest thing to the original Fantasound is the reconstructed mix that Terry Porter fashioned for the 50th anniversary reissue in 1990, and even that only exists as a matrix-encoded stereo track that you have to feed through the right receiver to be able to fully appreciate. If all goes well with capturing the sound elements I have access to, we should see a mix more faithful to what was originally intended. Stay tuned.