When Hanna-Barbera discontinued their long-famous sound effects [Archive]

Steve Carras

02-27-2007, 12:39 AM

THough their recent (non-HB produced) Yogi, Jetsons, and Flintstones shows used these H-B by the 70s slowly started phasing out their well-known sound effects. (As I've pointed out in several references to "What's New, Scooby Doo?" which some have heard in WB SFX).

An interesting pre-history (notr involving Fred Flintstone.:)) These originated at Disney,MGM and UPA (mainly in the later 50s, esp.Henry G.Saperstein/TV UPA like the Dick Tracys discusssed in a very recent thread--looks like only one remains on YouTube, and the Magoos and Gay Purees), as well as Gumby (one of the cat-smear meow sounds normally heard in HB) and the Three stooges--the string instrumental plucks whenever Moe Howard pokes Curly or Larry in the eyes (Neveer JOE BESSER!).They also converted Warner Bros.'s whippoorwill wind whuistle sound and turned it backwards in 1958 or so, but this was practually the only WB effect until the 70s at Hanna-barbera.

By 1957 when HB opened under arrangement with Columbia Pictures, as a sort of TV sister to its Screen Gems TV (producers of "Father Knows Best","Donna Reed","Dennis the Menace", then later "Bewitched","Jeannie",'Gidget","The Flying Nun","The Partridge Family","Married:With Children","Dawsons Creek" and others (Now Sony Pictures TV), (which they broke with in 1966, trading Columbia for Taft), they started using these already old sound FX abnd creating some of their own, Soudndogs and Sound IDeads has a lot but about twenty years into the studio's existence, with "Wait till your father gets home" discussed elsewhere, "Funky Phantom" and other foreign (Aussie/ENglish) done shows, these effects started being replaced. By the 80s one started hearing different, realistic effects,even Warner Bros. effects!!

("Scooby Doo", which would start with 1994's "Arabian Knights", not to mixed up with that 1968 "Banana Splits" adventure segment, in using Treg Brown/"Looney Tunes" SFX, had already in the late 1970s started using the 1940s Looney Tunes and Merrie Melodies whistle wind sound (think 1951's "Big Top Bunny", Bugs and his rival/partner Bruno"s air-turn sound, 1952's "Rabbit's Kin", when Puma runs out, 1947's "Odor of the day" when the dog slams the door on the "Pepe" skunk's house for the sign to spin around,1948's "The Bee-Devilled Bruin" when Pa, after a very long fall, spins around in friont of Junyer!!,etc.), esp.when Scooby-Doo creators Ruby and Spears, who'd then started their own company (comparable to Don Bluth's walkout from Disney) joined forces, reuniting THEMSELVES with HB (even though FIlmways owned RS and Taft still owned HB but then they started owning both studios). But it was in the 1990s with the aforementioned Scooby-Doo Arabian Nights that WB effects (AND "Steve Bernstein/Carl Stalling" Warner Bros.Kids WB music from "Animaniacs") started to appear.

(THAT is the VERY first thing wever said about that special which I admit I never saw..but I don't think anyone would lie about the audio portion of a TV show or something like that...?:))

By the late 1990s, not only was Hanna-Barbera proper but also their very, very, well-known sound effects had largely disappaeared (the specials by Kricfalusi, Tarskovsky(sp?), and live movies by Universal and Warner Bros. devoted to Flinstones then Scooby, but not the Josie one, utilizied the full potential of the classic HB sound FX. )

The John Kircfalusi 2002 "Adult swim " "Boo Boo and the man" harbored these audio elements (outside of excellent John K.voice of Boo Boo)
Hoyt Curtin, Phil Green/Jack Shaindlin (read: "John Seely/Capitol") canned music, Ted Nicolhs, Marty Paitch music, and 1957-1969 sound effects with the original version (but subversively updated!) of Yogi!""

thartman1956

02-27-2007, 02:11 PM

Steve Carras

02-27-2007, 09:39 PM

:) Interesting thread! There was a time you could tell who produced a show by the sound effects contained within. Besides the aforementioned SFx of HB and WB, I remember that Jay Ward (Bullwinkle), Leonardo-TTV (Underdog, Tennessee Tuxedo), Rankin-Bass, to name a few each had their own distinctive SFx. The first time I remember hearing a WB SFx on a HB show was on 1974's Hong Kong Phooey. On the other hand, other studios began using the HB SFx. The first one I remember was "A Charlie Brown Christmas" (Mendleson-Menenz, 1965). Then in 1968, Filmation began using the HB SFx. So by the 1980's, an interesting thing was taking place; HB was beginning to phase out their own sound effects, while nearly everyone else was using them!

AH!!! I now rememebr BOTH HB AND Filmation using Warner's "Whooooosh-THAR" Marvin the Martian/Roadrunner rocket/flying sacuer/running effect...and this is an interesting thread indeed.

And one of the oldest Warner Bros.ones, as far back as "Boulvadier from the Bronx" (1936) which is also one of the oldest using a longtime theme--"Merrily we roll along" (after those previous songs were), another Roadrunner-specific effect..the engine/transnmission (Detroit Diesel sounding, kinda like today's Allison automatics on buses!) effect was used in a Filmation "Lassie" involving a spinning device!

"Hey-y-y It's the King" at HB used some WB effects....

Steve Carras

02-27-2007, 09:43 PM

Brainatra

02-27-2007, 11:17 PM

"Krypto the Superdog" makes some use of the old H-B sound effects (to go along with the characters being drawn in the H-B house style, with some DCAU house-style elements [Superman, the look of Metropolis, etc.] thrown in).

Chris Wood

02-27-2007, 11:20 PM

Cool topic. I'd love to see a detailed list of all those classic sounds and how they were made.

thartman1956

02-28-2007, 12:06 AM

John Pannozzi

02-28-2007, 09:12 AM

Sound FX can't be copyrighted, so I hear.

And I think you'll like this: http://frederatorblogs.com/post/1561

Chris Wood

02-28-2007, 09:25 AM

I wouldn't mind getting that set, but $495???? A tad steep, isn't it?

Howard Fein

03-01-2007, 11:40 AM

Ah, yes! Cartoon SFX, one of my pet topics.:) :D ;)

[quote=thartman1956;2442740]:) Interesting thread! There was a time you could tell who produced a show by the sound effects contained within.
Besides the aforementioned SFx of HB and WB, I remember that Jay Ward (Bullwinkle), Leonardo-TTV (Underdog, Tennessee Tuxedo), Rankin-Bass, to name a few each had their own distinctive SFx."

That's very true. Back in the days of theatrical cartoons, each studio had its own distinctive SFX inventory. Many of these SFX would live on in TV cartoons, both made by the same creative principals or 'farmed' out to other studios. In the former case, it's very apparent to anyone watching them that many of the most familiar H-B TV SFX were originally used in the MGM :tomcat: :jerry: theatricals- and the same studio's Tex Avery-directed shorts :droopy: :wolfie: as well. So the classic H-B SFX weren't 'born' with the TV studio in 1957, but a good fifteen or so years earlier. Instances of a character dashing away; glass (or Tom's teeth) shattering; a manhole cover clanking; someone being hit on the head with a blunt object are all examples.

For that matter, other familiar H-B SFX had their genesis in some Disney shorts, also beginning in the WWII era- particularly those with :donald:, Chip 'n Dale and the Goofy 'instructionals'. It may only occur once or twice in a short, but you can tell. The famous H-B 'wood-splintering crash'; a dull, metallic thud!; and a juicy splat! are the most identificable examples. Disney otherwise used their own, basically nondescript, SFX in their shorts, features and TV specials well into the eighties.

The Treg Brown WB SFX were recycled sparingly in the earliest DFE theatricals and TV shows. (While DFE had largely original SFX through the sixties, in the seventies it increasingly used both H-B and 'Jay Ward/Joe Siracusa' SFX for its theatricals and TV product.) When WB began original TV animation production in the nineties, :yakko: :brain: :sylvester :tweety:, they made a welcome return- particularly the beloved 'trombone gobble'. Many CN originals :dexter: :deedee: :bubbles: :blossom: :bcup: of the nineties combined H-B and WB SFX- a possible byproduct of Time Warner purchasing (and liquifying) Hanna-Barbera.

The Famous/Paramount SFX- many of which can be traced back to the Fleischer era- reappeared in the made-for-TV KFS Popeye revival (at least those made by the studio principals) and strip adaptations; the Total/Gamma shows and those made by Hal Seeger- who also made the bizarre 'outsourced' titles for the 1964 ABC Saturday AM PORKY PIG SHOW after the original WB studio shut down.

NY-based Terrytoons and Hollywood-based Lantz had their own dedicated SFX libraries as well. I would imagine the extremely obscure Columbia/UPA shorts had their stock SFX, but since they've seldom- if ever- been rerun on TV:( , its hard to tell. The theatrical Magoos, which had some exposure on Nickelodeon's old WEINERVILLE, had no consistent, identifiable SFX. UPA cartoons made for TV were very distinctive: a combination of 'future'- i.e. post-1966 H-B SFX, some distorted 'Ward/Siracusa', and some 'in-house'. (Think of the odd, almost flatulent sound heard when Magoo drives his car off the roller coaster into the electrical transformer in the TV short opening title.) The UPA DICK TRACY shorts take the same approach as the TV Magoos as far as SFX.

The 'Ward/Siracusa' SFX, like most of the H-B SFX, were apparently created especially for TV, first heard in ROCKY AND HIS FRIENDS and retained for all subsequent Ward product. This included the Quaker cereal commercials made by Ward virtually until his passing in the mid-eighties. (Many of these marvelous Cap'n. Crunch and Aunt Jemima commercials can be seen on www.retrojunk.com (http://www.retrojunk.com).) The relatively new outfit, Format Films, appropriated them for some of the KFS POPEYE shorts and the prime-time CBS ALVIN SHOW. (T'was quite bizarre to hear the famous Ward explosion/crash applied to Popeye decking Brutus.) Some say ABC's concurrent prime-time CALVIN AND THE COLONEL, made by a studio so obscure I can't recall its name, used them as well. Some of the Cambria THREE STOOGE shorts syndicated in 1965 used the Siracusa SFX; others H-B SFX.

When WB reopened under DFE auspices in the mid-sixties, a couple of :coyote: shorts used the Siracusa SFX- as did all three :daffy: shorts made under Format auspices in 1967. Later that year Bill Hendricks took over production of WB theatricals, and old H-B friend Alex Lovy direction. So you had cartoons with Daffy and Speedy with many H-B SFX. (Numerous individuals on GAC's Termite Terrace Trading Post have derided the Lovy-directed shorts as "making Daffy run like Fred Flintstone". Y'know, the way a cartoon character 'winds up' in preparation for dashing away:shrug: .)

"The first time I remember hearing a WB SFx on a HB show was on 1974's Hong Kong Phooey."

Hmm. I don't recall hearing any WB SFX on PHOOEY. A strange ricochet sound was heard whenever he would go through his Kung Fu motions, and occasionally when dashing away. But otherwise, the SFX were pure H-B. In 1987 the studio, whose product was increasingly farmed overseas, started using more odd SFX- including our old friend, the trombone gobble.

"On the other hand, other studios began using the HB SFx. The first one I remember was "A Charlie Brown Christmas" (Mendleson-Menenz, 1965)."

Most of the PEANUTS specials and theatricals throughout the eighties used a few H-B SFX (most prominently in CHRISTMAS and GREAT PUMPKIN) and the Gobble as well- noticeably when Charlie Brown revs up to kick the football. CHARLIE BROWN'S ALL-STARS and IT'S A MYSTERY, CHARLIE BROWN used some Siracusa SFX as well.

Earlier in the sixties, NBC's prime-time FAMOUS ADVENTURES OF MISTER MAGOO used a lot more H-B SFX than the earlier UPA TV shorts had. Earlier in the sixties, they could be heard in Larry Harmon's BOZO THE CLOWN, Ed Graham's LINUS THE LIONHEARTED, and even the live-action "A Day With Doodles [Weaver]" shorts.

"Then in 1968, Filmation began using the HB SFx. So by the 1980's, an interesting thing was taking place; HB was beginning to phase out their own sound effects, while nearly everyone else was using them!"

When I first saw the ARCHIE and SABRINA cartoons on CBS Saturday AM, I thought they were H-B cartoons by virtue of SFX, laugh track, and frequent voice presence of Howard Morris and Don Messick. But after further viewing, distinctions emerged- aside from the obvious inferiority of Filmation's animation to that of H-B. While Filmation heavily relied on the H-B SFX, there were some rare uses of Siracusa (the 'fractured clockwork' associated with Super Chicken's transformation) it had some of its own- which sounded vaguely like some used in the mid-sixties Chuck Jones :tomcat: :jerry: shorts).

From the seventies through nineties, many studios used H-B SFX in varying intensity. Naturally Ruby-Spears would, since its founders were longtime H-B stapes. In addition, there was Bakshi; Marvel (which was an outgrowth of DFE); Chuck Jones Productions (in his Jungle Book and Cricket in Times Square adaptations); TMS (mostly for GALAXY HIGH); Film Roman (mostly GARFIELD and BOBBY'S WORLD); Nelvana (mostly CARE BEARS); DIC (very heavily for the first couple of years of its existence, then barely from 1987 on); Calico (MISTER BOGUS, WIDGET THE WORLD WATCHER); Wolf-Kurimaki (the original syndicated TNMT); Spumco/Carbunkle/Games (all of which are apparently separate studios but are somewhat interchangeable to me due to their products' frequent presence in early Nicktoons).

Howard Fein

03-01-2007, 02:14 PM

By the late 1990s, not only was Hanna-Barbera proper but also their very, very, well-known sound effects had largely disappaeared (the specials by Kricfalusi, Tarskovsky(sp?), and live movies by Universal and Warner Bros. devoted to Flinstones then Scooby, but not the Josie one, utilizied the full potential of the classic HB sound FX. )"

As for live-action movies, I recall the 1994 live-action Universal FLINTSTONES feature featuring H-B SFX sparingly. (There was also some classic Curtin score redone and played over a few scenes, but that's another story.;) ) Using them with any frequency in a live-action movie would've distracted from the narrative. The 2002 WB SCOOBY-DOO feature didn't use the SFX at all. I didn't see the Flintstones' Rock Vegas sequel or Universal's JOSIE adaptation, so can't comment. Given the latter was rated PG-13 and bore virtually no resemblance storywise to the H-B cartoon (or Archie comics), the presence of cartoon SFX seems highly unlikely.

There was a very obscure live-action slapstick comedy made by H-B in 1979 or so called C*H*O*M*P*S with an all-star guest featuring Conraid Bain, Wesley (LAND OF THE LAST) Eure, Valerie Bertinelli, Jim Backus, Chuck McCann, Hermoine Baddely and Red Buttons . It had virtually no theatrical release and is certainly not available on home video. My only exposure to it was a promo for a showing on CBS. In those thirty seconds, at least eight classic SFX were heard. Look to http://imdb.com/title/tt0078924/ for more information, including some very familiar names in the crew credits: Hoyt Curtin; co-writer (with Barbera) Duane Poole; film editor Warner Leighton; music editor Joe Sandusky.

The 'beginning of the end' of H-B SFX in H-B productions actually goes much further back than the late nineties. Throughout the studio's history, there were some series or individual shorts that used out-of-place SFX or distortions of existing ones. This was the case for all the way back in 1961 for the Snagglepuss short Scaredy Cat Lion. Eight years later, so did the nominal DASTARDLY & MUTTLEY pilot Stop The Pigeon. (Future D&M episodes adhered to the regular SFX.) These must have been isolated experiments, because everything else in those cartoons seemed consistent with the studio MO: Hathcock and Muse animation are clearly visible in Stop The Pigeon.

The first 'outsourced' H-B series came in 1971. FUNKY PHANTOM, made in Australia, was very unconventional as far as animation, direction and editing. Voices (Daws Butler, Don Messick, John Stephenson, Allen Melvin, Micky Dolenz) and background score (largely recycled Nichols cues from SCOOBY and JOSIE) were typical. Familiar SFX were mixed with odd ones- particularly when Muddsy materialized. In some cases, familiar SFX were completely misplaced. Someone jumping up and down while watching an exciting football game should do so with a boing, not a creak!

The next year's AMAZING CHAN AND THE CHAN CLAN had its 16 episodes split between the studio's Hollywood outfit and the same Australian concern that did PHANTOM. There seemed to have been two versions of the Aussie episodes: one with H-B SFX, and one with none. The same season's syndicated fringe-time WAIT TIL YOUR FATHER GETS HOME (subject of a recent thread), while clearly made overseas, still used the regular SFX. Its second season was another story.

The follwing year, British outfit Halas-Bachelor produced an ADDAMS FAMILY cartoon 'for' H-B. While the opening titles seemed domestic enough, with many studio SFX, the episodes themselves used virtually none. Only the presence of stalwarts Lennie Weinrib and Janet Waldo, synthesized Curtin/DeKorte score, the dedicated studio laugh track, and the closing 'chime' H-B/Taft closing logo made this one evident as a Hanna-Barbera series. Strangely, the version that premiered on ABC in 1992 (a time the studio and its SFX was waning) in response to the hit theatrical, did use the regular SFX- at least for the first season.

Other series with irregular use of SFX included C.B. BEARS (1977); the title segments of YOGI'S SPACE RACE (1978); SUPER GLOBETROTTERS (1979); some, but not all segments of THE FLINTSTONE COMEDY SHOW (1980-81); THE POPEYE COMEDY SHOW (1981); LAVERNE & SHIRLEY MEET THE FONZ (1982), which was actually an eight-episode extension of previous series featuring the Paramount Milwaukee TV icons; POPEYE & SON (1987); new 1987 episodes of FLINTSTONE KIDS and YOGI'S TREASURE HUNT. What sounded like a WB or 'Chuck Jones Enterprises' SFX; or a sped-up, slowed-down or backward H-B SFX could be heard at any time.

Throughout this period, H-B made numerous literary adaptations under the CBS FILM FESTIVAL umbrella- mostly or all overseas. Due to their high aspirations and generally realistic approach, the familar SFX were scarcely used. The straight adventures CHALLENGE OF THE GOBOTS (1985), WILDFIRE (1986) and the JONNY QUEST revival didn't seem to use them at all. But through the eighties, RICHIE RICH, THE SMURFS, KWIKKY KOALA, PAC-MAN, THE BISKITTS, THE SNORKS, PINK PANTHER & SONS, THE PAW-PAWS, POUND PUPPIES, FOOFUR, FANTASTIC MAX, ED GRIMLEY and innumerable rehashings (SCOOBY, JETSONS) stayed faithful to the cause.

That a series may have been made partially or completely overseas seemed to have no effect on SFX editing. The NBC Saturday AM FLINTSTONE revival was apparently made entirely in Hollywood. Conversely, CLUE CLUB, the SKATEBIRD components, SPACE RACE components Buford and Galloping Ghost, DRAK PACK and CBS STORYBREAK are very copious with the classic SFX- and they were all made in Australia or the Phillipines.

The last Saturday AM H-B series I can recall that really featured the classic SFX in abundance were FOX's first series in 1990, TOM & JERRY KIDS and NBC's OY! YOGI the following year. Conversely, NBC's GRAVEDALE HIGH and CBS' BILL & TED'S EXCELLENT ADVENTURES carried virtually none. Likewise the failed prime-timers CAPITOL CRITTERS and FISH POLICE. By 1993, it was a shock to hear familiar SFX in 2 STUPID DOGS; its syndicated soulmate SWAT KATS had none. Likewise, the much-discussed-on-this-board 1994 ARABIAN NIGHTS melange- quite strange, considering the presence of several classic characters in it.

The WHAT A CARTOON! pilots and one-shots were wildly inconsistent, as the first (1995-97) came from all over the world. Anything made by Pat Ventura- the Yukky Duck and Sledgehammer O'Possum shorts- was bursting with classic SFX. Strangely, the Dexter and Powerpuff pilots featured none, but their series were fairly consistent. (LAB tended to use the same nine or ten classic SFX over and over.) The Johnny Bravo pilot was full of the ol' SFX, but the series scarcely used them. Confusing, isn't it?

As for the most recent CN originals, KRYPTO, FOSTER'S, LAZLO, BILLY & MANDY and maybe SHEEP use the SFX. After 1995 or so, it was much easier to hear them on Nick: REN & STIMPY, ROCKO, HEY ARNOLD, ANGRY BEAVERS, CATDOG, TEENAGE ROBOT and SPONGEBOB come to mind.

[/quote]"The John Kircfalusi 2002 "Adult swim " "Boo Boo and the man" harbored these audio elements (outside of excellent John K.voice of Boo Boo) Hoyt Curtin, Phil Green/Jack Shaindlin (read: "John Seely/Capitol") canned music, Ted Nicolhs, Marty Paitch music, and 1957-1969 sound effects with the original version (but subversively updated!) of Yogi!""[/quote]

Yes! Given the passings of most voice talent involved, it was wonderful to hear the appropriate SFX and background score under their rightful characters- regardless of how sensitive one is to their legacies. A lot of people found it very offensive to apply Kricfalusian scatalogy and mood swings applied to our favorite bears 'n ranger. Likewise, Tartakovsky's FLINTSTONES: ON THE ROCKS was a wonderful marriage of imitative 1960-style character design (Barney's flesh-colored eyes and open shirt collar), SFX and Curtin score. The 'mistaken identity' sounds-of-Barney-and-Betty-laughing-in-bed gag might have raised a few eyebrows-

Even the purveyors or some recent made-for-video SCOOBY features remembered how important the original SFX, Nichols score (mostly remixed, but recreated quite effectively) and character designs are to fans of the Meddling Kids. LEGEND OF THE VAMPIRE and MONSTER OF MEXICO nicely make up for the anime stylings and WB-esque SFX of the earlier video releases and WHAT'S NEW-?

Howard Fein

03-01-2007, 02:43 PM

[quote=John Pannozzi;2443567]Sound FX can't be copyrighted, so I hear. /quote]

No, they can't be. So it's perfectly legal for one studio to use SFX created by, or associated with another. Increasingly, a cartoon will use out-of-studio SFX for creative- usually comic- purposes. So you might hear, for instance, H-B SFX in series that normally wouldn't use them.

The Fairly Oddparent CHANNEL CHASERS movie parodied several H-B series, so the appropriate SFX were there. You'll never hear them in any regular ODDPARENT episode.

An ARTHUR episode that parodied SOUTH PARK:eek: (along with BEAVIS AND BUTT-HEAD and DEXTER) had a flying saucer land on Buster with a familiar H-B splat! ("Oh, no! Buster's been squished!") Even though Buster was spared Kenny's regular fate (just a black eye and missing tooth), I'm amazed PBS and CTW would allow references like this.

ANIMANIANACS did their own multicartoon spoof, which I've sadly never seen. But whenever an H-B character was evoked, the proper SFX kicked in. Likewise in the hilarious FREAKAZOID! spoof of JONNY QUEST.

As someone else in this thread mentioned, it is possible to own the entire library of H-B SFX, expensive as it might be. Radio stations may order them, because I've heard them from time to time on drive-time comedy programs and canned host intros. Most memorable was an WNBC-NY IMUS IN THE MORNING sketch whose specific context I forget, but featured an implied childbirth via numerous H-B boings, bonks and a loud splat mostly associated with pies hitting faces. It certainly got me out of my early morning stupor.

Even San Diego's Sea World got into the act. A sea lion performing an elaborate stunt was underlaid with several familiar sounds, including a bonk!; a boing!; an upward whipporwhill; the meow-like sound associated with surprise or sudden change in direction; and the prolonged bass-drum hit signifying a falling rock or character. They sounded too clear to have been recorded off a cartoon.

Many years ago some friends and I made a Three Stooges-type comedy short that Youtube would probably reject.:shrug: For impacts, a Treg Brown crash-bang-clatter recorded from a WB cartoon was dubbed in. For mechanical malfunctions, a recorded Mel Blanc foosh-sputter. I can't help wishing in retrospect we could've afforded to buy- or rent- the H-B sound library.

Mittenz

03-02-2007, 09:11 AM

There was a CD of HB's sound FX released.

http://images.buymusichere.net/images/muze/160/168751.jpg

Eric B

03-04-2007, 01:04 PM

The sound effects were gradually changing and borrowing from each other's studios all along, but I remember in the late 70's, with Challenge of the Superfriends, and the following year's World's greatest Superfriends, HB began using effects associated with Filmation, such as that "outer space background light theremin sound that you would see in space scenes in Space Academy, and you you could here it for instance when Apache Chief gets rid of the deadly noxium crystal from the sewer. Another one was that high pitched spaceship blast, and also a "thud" used when Frankie from Groovie Goolies would be walking, pounding his feet on the floor.
the new R&S would use alot of these sounds also, and I noticed them first on their shows.

When they began pairing HB and RS shows in the 80's, you could hear all sort of wierd WBesque sounds on the Scooby & Yabba cartoons. The overall sound mixing sounded different as well. At some point, HB began using a few DFE sound effects, such as one that I remembered hearing on the Spiderwoman cartoon, and would now be used for PacMan beconing energized by the power pellots. DFE had begun adding HBesque style sounds gradually during the 70's, in addition to it's own. Some of these former HB sounds (such as HB's own version of the whipporwhil) would become more associated with DFE or Filmation in the 70's, as HB had moved on to other sounds.

Brainatra

03-05-2007, 09:02 PM

Steve Carras

03-06-2007, 12:54 AM

UPA SFX (as Howard noted) came "in three flavors"....

Joe Siracusa (long of SPike Jones)/Jay Ward "Bullwinkle" (& Co.)
such as the "clockwork" (I saw on YoUTUbe a Go Go GOmez one set at sea with Flattop (Peter Lorre) & BB Eyes (Edward G.Robinson)(both probaly voices by Paul Frees, who also did play GOmez) and Gomez was shaken by the crooks by crane above the ship to that effect_

Hanna-Barbera effects of the later, usually post-1967 period (the metallic "THUD" heard in the same short and in others), the shaking sound associated with "Scooby Shakin" (gone in recent years), the splat, the whip cracking, the sliding "Warner Bros.Shield" like effect followed by a thump on piano, then a "diamond/tooth polishing sound" effect (which HB appripriated for magic but was used in a Jitsu episode in the third part when the crooks were knocked against the door of a sip, speaking of whcih..)

Some strictly UAP sounds like a "ticky too ticky too" seeing stars "clockworx" effect..

Howard also reported soem eyars ago on rec.arts.animation a whistle dash off effect which I am SURE I heard "Madagascar" AND "Robots" use, and the ":Brady Kids',(the "Ain't it crazy" music video--THANKS you, Filmation)"Tom and Jerry" (Chuck Jones/HB titles),"Beany" and "Gumby" gouing back to the early days (sounds like a over-caffiened bobwhite whistling....)

Clokey, btw, not only used "John Seely Associates" music longer than any other cartoon producer, all the way through the early 70s, but used a lot of memorable, largely in-house sound FX< but originated a few like one of the cat sounds hB would use ("Odd Ball",1957, opens with this sound, HB, had just started theitr own business udner Columbia), and the aforementioned whistle-dash (Chuck Jones put it under HB MGM "Prof. Tom" animation of Tom's kitten dashing off!). Beany cartoons used it too. One was used by Tim Burton (!!!) in "Charlie and the Chocolate Factory" (Starring Tim Burton, Missi Pyle (of the failed Josie movie, and no, no HB SFX there in Josie) and Anna Sophia Robb who's currently in Disney's "Bridg e to Terebithia",itself ironcially directed by..a RUGRAT director.Pretty cool sad movie,but back to WOnka), a kind of "duck quack" sound used whenever a clockwork sound in GUmby was needed (in "Charlie" it was used, or a distorted version, when Willy Wonka takes the kids into one of his factory rooms), and in "Gilligan's Island" in "Operation: Steam Heat" (broadcast on CBS on Thursday night, March 10, 1966) when Bob Denver as GIlligan turns on the makeshift bamboo-"plumbing": (just like the Flintstones, always improvising when needed!). Then there was the "sliding humming" for Prickel the yellow dinosaur in the 1967-68 episodes which HB sometimes used (I heard it on Sound Ideads and SoundDogs.com).

And of coruse WB and DFE effects..

thartman1956

03-07-2007, 09:46 PM

It appears to me then that the classic HB SFx can be broken down into two "generations". The "first" generation in the Ruff & Reddy/Huckleberry Hound era consisted of mainly SFx inherited from MGM. More of the classic first generation sounds (including some of the aforementioned Disney SFx) came about the time The Flintstones began production. Perhaps this can be attributed to Charles Nichol's arrival at HB as animation director after his stint as a Disney director. The "second generation" SFx began appearing in about the 1964-65 time frame. It was about the time that HB opened their new facility (the Money Farm studios), so the two events are apparently related.

carlaspirit

03-09-2007, 03:41 AM

RANDOM ACCESS

03-17-2007, 12:00 AM

Forgive me if this has been mentioned already, but I must know the history on my favorite sound effect. It’s an ascending (and sometimes descending) scifi sound that I think was first used in The Impossibles when Coil-Man would stretch out. I think that sound was also in the Twilight Zone episode "To Serve Man" when the spaceship is seen taking off near the end.

This effect that you refer to here is currently available through at least two commercially available sound effects libraries - The Hanna Barbera Sound FX Library and the Universal (Pictures) Sound Effects Library.

It would appear that the source for the effect is an audio oscillator or sweep generator set to move in a descending tone, passing through a reverb or echo generator. In the Universal Library, this descending effect is actually the opening for a 30 second array of wild reverberating oscillations!

As became commonplace in the 1940's when sound effects were committed to a storage medium such as optical film or magnetic film , new sounds could be produced by simply speeding up, slowing down or playing a sound backwards and in various combinations.

Thus, in the Twlight Zone, more mileage is gained by simply reversing the sound for take off as in "To Serve Man" when the spaceship (a clip from Earth Vs the Flying Saucers) departs with its load of human fodder.

Look for this same effect to be heard played at double speed in the original 1960's Captain America (almost) animated series (the specific episode I do not recall). It even showed in an early 1960's General Electric commercial starring UPA's Mister Magoo who zooms into the picture on a flying saucer pushing GE lightbulbs!

Since being an audio editor could be a nomadic profession, you moved from studio to studio or post house to post house and you brought your sounds with you. So it 's not surprizing this same effect shows in many Hanna Barbera presentations. Look for early entries in the Jetsons and Magilla Gorilla.

Later, in the Herculoids and Plastic Man, the descending sweep effect is mixed with an interesting second effect, which appears to be a twanged spring, slowly raised in pitch. Again, more mileage by reversing the mixed track as Gloop, Gleep and Plastic Man do their stretch for the cause. It's this twanged effect that you may recall from Frankenstein Junior and the Impossibles.

The most recent appearances that I can recall for this mixed version is in the 1990's The Tick and also Dexter's Laboratory.

Finally, I recall hearing this effect mixed in with some ominous music on a badly scratched long play vinyl disc at a local radio station as part of a low budget audio production package.

As to who created your favorite effect?

Unknown!

But fortunately, it lives on in these libraries and also within the content of many classic television show DVDs!

RANDOM ACCESS

03-17-2007, 01:48 AM

Which brings up another interesting question. How do sound effects get from one studio to another? Do the studios buy and trade SFx or what? I don't think they record them off programs and movies since there's often dialogue and/or music going on when the effect occurs. Also in the case of HB, who decides which SFx goes where?

This question is addressed in a small booklet that is enclosed with the commercially available Hanna Barbera Sound FX Library. There are interviews with producers Bill Hanna and Joe Barbera and sound editors Pat Foley and Greg Watson where they acknowledge the fact that copies of their effects moved from studio to studio. Freelance sound editing can be a somewhat nomadic existance. An editor might have his own stock library on hand that he might incorporate into an existing production assignment.

As to the idea of actually lifting effects from another recorded program, it would appear that someone at Hanna Barbera did just that. In a number of 1970's vintage superhero cartoons, pre-mixed sounds taken directly from the audio track to The War of the Worlds-1953 (including what would eventually come to be known as a photon torpedo) can be heard.

Quite a few sound effects directly associated with Hanna Barbera and Jay Ward also became part of stock libraries at Producers Sound Service, Ryder Sound Services, Edit Rite and the sound editor Phil Kaye (associated with Rankin-Bass and Roger Ramjet). I believe, with the exception of Ryder, the others are gone.

It would appear one of the biggest movers of sounds might have been the late Sam Horta. Mister Horta's credentials go back to the 1960's with UPA Pictures. Under the group name Horta-Mahana, seen as a credit for music and sound effects on early 1970's vintage Filmation projects such as Archie's Fun House, Fat Albert and the Cosby Kids and the animated Star Trek series, Hanna Barbera effects began to migrate big time.

Sam also did time at Hanna Barbera and so it should come as no surprize that some of the classic Star Trek sounds and also a few 20th Century Fox sci-fi effects backflowed into the Hanna Barbera library by the mid to late 1970's.

Fast forward to the 1990's, with the advent of the remarkable gross-out series Ren and Stimpy, Mister Horta, now known as Sam Horta Editorial Services, continued his tradition of using of these classic effects, but also to his credit, he developed many new and very creative sounds!

One last observation: while I have no way to offer proof, I have always been convinced that Sam Horta was the one who brought us the Star Trek original series transporter energize sound. This would be the short mid-range vibrato twang or purrrrrr heard just before all the shimmering sparkly stuff.

This sound can be traced back (you have to listen carefully) to earlier UPA Pictures cartoons including the Dick Tracy Show, Gay Puree and Mister Magoo's Christmas Carol. Many of UPA's effects appear to have been sourced from General Music, another now-defunct supply house.

thartman1956

03-17-2007, 02:56 PM

One last observation: while I have no way to offer proof, I have always been convinced that Sam Horta was the one who brought us the Star Trek original series transporter energize sound. This would be the short mid-range vibrato twang or purrrrrr heard just before all the shimmering sparkly stuff.

I don't want to get off topic here, yet I'd like to point out that when they were making the Star Trek:TNG episode "Relics" (when Will Riker and Geordi LaForge rescued Scotty from the transporter feedback loop), episode writer Ronald D. Moore and director Alexander Singer stated that they had to do some searching for the original series transporter SFx.

Back on topic, one would think that a "suggested" SFx for an on-screen action or special animation effect would be listed in the script, storyboard, or both.

Eric B

03-17-2007, 03:18 PM

The two stretching sounds you speak of I always associated with A Clue For Scooby Doo, with one being used when he tugs on the glowing seaweed with the little gopher, and the higher pitched one when he tries to inflate himself to be too fat to squeeze into the pipe.
I remember the lower pitched one being used on Dexter alot the time when he could stretch or something like that.

And the fire blasting (the lower pitched version of the blast sound I earlier mentioned) and laser ray from War of the Worlds was like a Filmation staple. When I first noticed in on the movie, it made me wonder if it had been made by them or something. Then, in the usual fashion, HB picked it up later. I always liked HB's laser ray sound, which was used heavily in the Super Adventures, and would still be used for Space Ghost's Power band "zap"s in Coast to Coast (while Cartoon Planet would normally use that other "tsssssrrrrl" sound followed by the old WB explosion sound)

I noticed for Filmation it always said "Horta Mahana", but not for HB, but later on, you would see "Sam Horta" mentioned. I always wondered if there was a connection. Was "Horta Mahana" a specific company he created to work with Filmation? I notice that both Chuck Jones 70's specials (specifically Raggedy Ann), and then the brand new "Marvel Productions" Meatballs and Spaghetti, and the other comedy show they produced the same season [i.e. Pandemonium], used sound effects that sounded just like Filmation of the 70's. (The typical effects, such as "boing" for jumping, drum rol for running, etc. But slowed down a bit). I think the Jones ones were the first where I saw the name Sam Horta.

DarthGonzo

03-17-2007, 03:31 PM

Can someone give me (any) information about the sound effects that were used in the MGM Tom and Jerry series and why it took so long for them to reappear again (in last years DTV movie Whiskers Away)?

And did Bill Hanna do ALL of Tom's screaming?

thartman1956

03-17-2007, 04:06 PM

As long as we're on the subject of specific HB SFx, I'll take this opportunity to list a few of the ones I remember most...

1) "Yogi's Lumbering Gait" which is a sould made by a bass drum and wood blocks

2) "Junkyard Crash" which is used when objects like vehicles or other objects collide or fall; also sometimes used for bowling pins being knocked over (especially on the Flintstones)

3) A rapid fire wood block sound when a character takes off running, usually ending in a ricochet sound, or its variant, when the wood block sound is speeded up at the end, used a lot on Scooby-Doo.

4) A "Garbage Can Crunch", where one hears a metallic cruch along with the tinkling of broken glass, which I first heard on Captain Caveman.

And to answer DarthGonzo's question, as far as the classic MGM Tom & Jerrys are concerned, yes it WAS Bill Hanna doing the yelling. I can't answer as far as the Gene Deitch, Chuck Jones, or Filmation Tom & Jerrys, though.

Steve Carras

03-17-2007, 11:44 PM

This question is addressed in a small booklet that is enclosed with the commercially available Hanna Barbera Sound FX Library. There are interviews with producers Bill Hanna and Joe Barbera and sound editors Pat Foley and Greg Watson where they acknowledge the fact that copies of their effects moved from studio to studio. Freelance sound editing can be a somewhat nomadic existance. An editor might have his own stock library on hand that he might incorporate into an existing production assignment.

As to the idea of actually lifting effects from another recorded program, it would appear that someone at Hanna Barbera did just that. In a number of 1970's vintage superhero cartoons, pre-mixed sounds taken directly from the audio track to The War of the Worlds-1953 (including what would eventually come to be known as a photon torpedo) can be heard.

Quite a few sound effects directly associated with Hanna Barbera and Jay Ward also became part of stock libraries at Producers Sound Service, Ryder Sound Services, Edit Rite and the sound editor Phil Kaye (associated with Rankin-Bass and Roger Ramjet). I believe, with the exception of Ryder, the others are gone.

It would appear one of the biggest movers of sounds might have been the late Sam Horta. Mister Horta's credentials go back to the 1960's with UPA Pictures. Under the group name Horta-Mahana, seen as a credit for music and sound effects on early 1970's vintage Filmation projects such as Archie's Fun House, Fat Albert and the Cosby Kids and the animated Star Trek series, Hanna Barbera effects began to migrate big time.

Sam also did time at Hanna Barbera and so it should come as no surprize that some of the classic Star Trek sounds and also a few 20th Century Fox sci-fi effects backflowed into the Hanna Barbera library by the mid to late 1970's.

Fast forward to the 1990's, with the advent of the remarkable gross-out series Ren and Stimpy, Mister Horta, now known as Sam Horta Editorial Services, continued his tradition of using of these classic effects, but also to his credit, he developed many new and very creative sounds!

One last observation: while I have no way to offer proof, I have always been convinced that Sam Horta was the one who brought us the Star Trek original series transporter energize sound. This would be the short mid-range vibrato twang or purrrrrr heard just before all the shimmering sparkly stuff.

This sound can be traced back (you have to listen carefully) to earlier UPA Pictures cartoons including the Dick Tracy Show, Gay Puree and Mister Magoo's Christmas Carol. Many of UPA's effects appear to have been sourced from General Music, another now-defunct supply house.

Hey, welcome! ;)As the starter of this thread, that is a fvorite of mine. I've heard it on Dick Tracy, and on the "Shazzan!" opening titles, and on such "Abbott and Costello" cartoons as "Werewolf Whim Wham" and "The Vaccum Werewolf" (both HB from late 60s). That plays in my mind after I get out of a bath and relax....:) Dunno if anyone (Disney, most liekly as they still use HB sounds) still uses that one. I think Earl Bennett or Chet Riccord may have created that one,too... Phil Kaye was listed on the properties you mention and they had one of those me-ow cat sounds (which goes back to Gumby and a 1957 "Odd Ball" far as I remember.)

Another accuqired Hanna Barbera sound I've always enjoyed can be heard at the end of the intro titles to Hanna-Barbera's 1967 "Abott and Costtelo": during tyhe scafflod sub-sequence..the Disney originated 1940s "UNNGGG!"
metallic thud already mentioned. UPA's "Dick Tracy" and others you mention definitely used that.

..."UNNNNNGGGGG" (camer shake..)

RANDOM ACCESS

03-18-2007, 01:10 AM

Some random sound effects thoughts -

It comes as a surprize that the producers for Star Trek - The Next Generation had to do some searching for those early transporter sounds. Crescendo Records offered a CD some years back with most of the Original Series effects. A quick trip to Borders Books and Music might have solved that dilemma in short order. You can still find many copies of this CD up for bid on EBAY.

With regard to suggested effects in scripts, I recall reading in a feature article on Hanna Barbera in a New York Times Sunday Magazine many years back, that Joe Barbera would frequently supervise post production where his primary concern was whether a preselected sound effect carried enough joke or laugh potential specific for that scene. But I believe that as their production schedules became more complex with many additional Saturday morning programs to be produced for several networks during the same television seasons, much of the extra post work may have been farmed out to freelance editors who came to rely more heavily on the standard Hanna Barbera audio formula cliche.

Early Filmation efforts, most notably The Archie Show and Fantastic Voyage, credited Einfeld Mahana with music and sound effects. The group name soon changed to Horta Mahana in subsequent program credits. As I had mentioned before, Mister Horta in later years would operate under the name Sam Horta Editorial Services. If the word Horta rings a bell, it was the name of a silicon-based lifeform encountered in Star trek - The Original Series. The writers borrowed Sam's name for their alien creation! I was never quite sure otherwise just who Einfeld or Mahana were...

When listening to 1940's vintage Tom and Jerry animation audio, it would appear that there was a combination of foley and pre-recorded stock sound effect material. Many of the sounds heard were clearly custom recorded for a specific action or scene while others were canned. Specifically, a large plate glass crash, a big can or barrel hit, a dropped manhole cover and a sort of white noise ricochet come to mind. According to HB sound editor Greg Watson, when Hanna and Barbera left MGM, they were given the option of taking along some of the of recorded material with them. Curiously, some of these 1940's vintage MGM effects appear in the Sony Pictures WAV sound effects library. This further muddies the picture as to just where the sounds were first recorded.

I never knew that Bill Hanna did all that screaming! He seemed like such a quiet guy...

On the subject of notable sounds, one effect I do recall was the Super Friends -Wonder Twins Power sound. This is a combination of several elements: a low frequency organ tone which is sped up after five seconds, a piano chord apparently played back at double speed, and chimes or bells that go into a fast feedback echo loop, a kind of sustained ringing. But this was not created at Hanna Barbera. There are two versions of this effect, which first appeared in 1958 in the Columbia Pictures feature film Bell Book and Candle. The other version was the same effect, but instead of the feedback ringing, there was a pitch warped chime. They appeared big time in UPA Pictures' Mister Magoo's 1001 Arabian Nights and these same effects showed in other Magoo cartoon shorts and The Dick Tracy Show. After that, a brief reprise in Filmation's Fantastic Voyage as the sound of the CMDF miniturization machine.

The Bell Book and Candle sounds, along with effects from War of the Worlds
and miscellaneous audio associatied with television shows like Lost in Space
clearly moved from their points of origin into the vaults at Filmation and Hanna Barbera and as the demand for new (old) sounds grew for a new genre of superheroes based animation in the 1960s - 1970s, it appeared that anything that could keep the audio track interesting was dug up, grabbed and put to use!

Yogi's Lumbering Gait does not appear anywhere in the Hanna Barbera Sound FX Library available through Sound Ideas.

The junkyard crash effect can be traced back to the low budget Warner Brothers science fiction flick, The Giant Behemoth. There are two scenes where this sound is used: one where the big lizard capsizes and destroys an ocean-faring freighter and then later when the Behemoth is seen trudging through the city streets knocking over street lights.

And I do recall hearing this being used as a plane crash sound on an old Red Skelton program back in the 1960's. Red Skelton did various on-stage comedy skits and had his own sound effects man perform with a mix of foley and recorded sounds played back on a McKenzie cart machine. I forget the sound guy's name. Anyone know?

The beauty of all these classic sound effects, whether they be Hanna Barbera, Jay Ward or UPA, is that they were organic and very analog - not synthesized. They were made by banging, twanging or clanging physical objects or musical instruments...or sometimes...with custom made devices. In some cases, they were altered by changing tape speed or direction. A more domestic sort of Musique Concrete (look that up in your Funk and Wagnalls).

AND like old TOP 40 tunes, they were played and played and played. AND like old TOP 40 tunes, they were clearly ingrained in many kids' minds, especially Baby Boomers who grew up hearing them each and every Saturday morning

Sadly, with rare exception, current generation animation audio relies too heavily on nondescript synthesized sound simply because that's how it's done now. And even if custom sounds are heard, they may only play or twice, and then not used again...and easily forgotten.

RANDOM ACCESS

03-18-2007, 01:25 AM

Hey, welcome! ;)As the starter of this thread, that is a fvorite of mine. I've heard it on Dick Tracy, and on the "Shazzan!" opening titles, and on such "Abbott and Costello" cartoons as "Werewolf Whim Wham" and "The Vaccum Werewolf" (both HB from late 60s). That plays in my mind after I get out of a bath and relax....:) Dunno if anyone (Disney, most liekly as they still use HB sounds) still uses that one. I think Earl Bennett or Chet Riccord may have created that one,too... Phil Kaye was listed on the properties you mention and they had one of those me-ow cat sounds (which goes back to Gumby and a 1957 "Odd Ball" far as I remember.)

Another accuqired Hanna Barbera sound I've always enjoyed can be heard at the end of the intro titles to Hanna-Barbera's 1967 "Abott and Costtelo": during tyhe scafflod sub-sequence..the Disney originated 1940s "UNNGGG!"
metallic thud already mentioned. UPA's "Dick Tracy" and others you mention definitely used that.

..."UNNNNNGGGGG" (camer shake..)

Hi Steve!

Thanks for the welcome! I found you guys here doing a Google search on UPA SOUND EFFECTS.

I did not imagine anyone else might have this kind of memory recall so it came as a cool surprize!

Many thanks for launching this thread!

With the UNNG sound, I think this is the best BIG HIT sound ever used. To me, it sounds as though a big metal bathtub (with the claw feet) was whacked really hard with a metal pipe!

Steve Carras

03-18-2007, 04:04 AM

Steve Carras

03-18-2007, 01:28 PM

This question is addressed in a small booklet that is enclosed with the commercially available Hanna Barbera Sound FX Library. There are interviews with producers Bill Hanna and Joe Barbera and sound editors Pat Foley and Greg Watson where they acknowledge the fact that copies of their effects moved from studio to studio. Freelance sound editing can be a somewhat nomadic existance. An editor might have his own stock library on hand that he might incorporate into an existing production assignment.

As to the idea of actually lifting effects from another recorded program, it would appear that someone at Hanna Barbera did just that. In a number of 1970's vintage superhero cartoons, pre-mixed sounds taken directly from the audio track to The War of the Worlds-1953 (including what would eventually come to be known as a photon torpedo) can be heard.

Quite a few sound effects directly associated with Hanna Barbera and Jay Ward also became part of stock libraries at Producers Sound Service, Ryder Sound Services, Edit Rite and the sound editor Phil Kaye (associated with Rankin-Bass and Roger Ramjet). I believe, with the exception of Ryder, the others are gone.

It would appear one of the biggest movers of sounds might have been the late Sam Horta. Mister Horta's credentials go back to the 1960's with UPA Pictures. Under the group name Horta-Mahana, seen as a credit for music and sound effects on early 1970's vintage Filmation projects such as Archie's Fun House, Fat Albert and the Cosby Kids and the animated Star Trek series, Hanna Barbera effects began to migrate big time.

Sam also did time at Hanna Barbera and so it should come as no surprize that some of the classic Star Trek sounds and also a few 20th Century Fox sci-fi effects backflowed into the Hanna Barbera library by the mid to late 1970's.

Fast forward to the 1990's, with the advent of the remarkable gross-out series Ren and Stimpy, Mister Horta, now known as Sam Horta Editorial Services, continued his tradition of using of these classic effects, but also to his credit, he developed many new and very creative sounds!

One last observation: while I have no way to offer proof, I have always been convinced that Sam Horta was the one who brought us the Star Trek original series transporter energize sound. This would be the short mid-range vibrato twang or purrrrrr heard just before all the shimmering sparkly stuff.

This sound can be traced back (you have to listen carefully) to earlier UPA Pictures cartoons including the Dick Tracy Show, Gay Puree and Mister Magoo's Christmas Carol. .

Ah..the "Bell Book & Candle" effect that "Wondertwins" (and actually Hb since 1966) had used..IIRC

Steve Carras

03-20-2007, 10:22 PM

Quite a few sound effects directly associated with Hanna Barbera and Jay Ward also became part of stock libraries at Producers Sound Service, Ryder Sound Services, Edit Rite and the sound editor Phil Kaye (associated with Rankin-Bass and Roger Ramjet). I believe, with the exception of Ryder, the others are gone.

And Glen Glenn, which is still IIRC around today. They pioneered laugh tracks. They're credited on "Lucy" and Ruby Spears shows." I recall Phil Kaye';s name, and thanks to the Monkees, "Edit-Rite".

It would appear one of the biggest movers of sounds might have been the late Sam Horta. Mister Horta's credentials go back to the 1960's with UPA Pictures. Under the group name Horta-Mahana, seen as a credit for music and sound effects on early 1970's vintage Filmation projects such as Archie's Fun House, Fat Albert and the Cosby Kids and the animated Star Trek series, Hanna Barbera effects began to migrate big time.

Sam also did time at Hanna Barbera and so it should come as no surprize that some of the classic Star Trek sounds and also a few 20th Century Fox sci-fi effects backflowed into the Hanna Barbera library by the mid to late 1970's.

Fast forward to the 1990's, with the advent of the remarkable gross-out series Ren and Stimpy, Mister Horta, now known as Sam Horta Editorial Services, continued his tradition of using of these classic effects, but also to his credit, he developed many new and very creative sounds!

One last observation: while I have no way to offer proof, I have always been convinced that Sam Horta was the one who brought us the Star Trek original series transporter energize sound. This would be the short mid-range vibrato twang or purrrrrr heard just before all the shimmering sparkly stuff.

This sound can be traced back (you have to listen carefully) to earlier UPA Pictures cartoons including the Dick Tracy Show, Gay Puree and Mister Magoo's Christmas Carol. Many of UPA's effects appear to have been sourced from General Music, another now-defunct supply house.
They did music for Cambria's "The New 3 Stooges", whose own SFX were partly Ward/Siracusa and otherwise "HB".

Interesting comments.

Art Clokey used "Audio Effects Co." (as credited on the few Gumby's - "Son of Liberty", "Pokey's Price","Gumby Crosses the Delaware", & "Pilgrims on the Rocks" - out of the original 1950s-60s era - to have credits! - these, btw were from mid 1960s.Also IIRC on the usually credit-laden other show of his "Davey and Goliath".) Clokey had many memorable effects in and of his own right as I have mentioned, and in fact some travelled outside...in (as seen in In2TV.com as mentioned in dedicated thread here) "Outcast Marbles", and the opening to "Who's What", (with Clokey's attempt supporting Gumby "claymates", Hnery bear & Rodgy Bird), a cat meow effect. This is another of those with several variations, here a throaty "rowr." If you watch the open of Hanna-Barbera's 1973 NBC show "Inch High, Private Eye" (a rare bright spot by then on Sat AM with the late Len Weinrib,their "Tom Thumb/Get Smart" mutation) you can hear the even more used (in general, both at Hanna-Barbera and elsewhere) variation which is used when Wilma does a double take in the infamous Water Buffalo Lodge can can dancers (!!!) at Pebble's party episode (said dancers there due to the typical sitcom mixup, guess what the Water Buffalos got)..One of Filmation's few shows I can still recall even remotely fondly now and then, the "Groovie Ghoulies" 1977 syndicated series which was an umbrella one, in the scene where Frankie fishes on Gilligans Island, has the first mentioned "meow" sound as the sun and moon in turn go up and down and speaking of Gilligan, the real show had Ginger uh..seductively "turn on" that one robot in an attempt to get it to get the castaways off the island. Roger Ramjet and Rankin-Bass's "Frosty" (1969; in the scene with the Paul Frees-voiced, Paul Coker,Jr.-designed cleark in the train station), used that same "meow" effect. Since Phil Kaye was credited with the last, I'm certain that he originated the effect, maybe, at Gumby but was not credited. BTW the UNGGG!! HB SFX originated at Disney reprotedly with a empty swimming pool IIRC in the Disney backlot in the early 1940s when they dropped a metal bathtub into the pool--so "Random Access" is CLOSE as to how that metallic sound efffect WAS createrd...and it was recordfed, to create such an effect.

BTW Disney originated poassibly the most famous effect, at least at HB, the "WheeshjajajaWheeshajajajaja" very fast and repeated with a whistle and drums that defined Hanna-Barbera. It was soon used in just about EVERY HB episode..thousands and thousands of episodes, and multiple times...starting in Disney's 1937 "Lonesome Ghosts". Or at least in a 1972 "Mouse Factory" reshowing, BUT the 1940s Goofy shorts do use that famed "Spinning out of control effect." A Few HB shows to use it in the opening titles were the "Abbott and Costello" right at the beginning and "Wacky Racers" at the end.IIRC

RANDOM ACCESS

03-25-2007, 03:47 AM

There was an interesting vinyl disc that circulated around many radio stations back in the 1970's that was actually a demo for a much larger sound effects library. It was identified as the Robert Hall Sound Effects Demonstation Disc which had a running time of about ten minutes. It was a loosely edited montage of crazy cartoon sound effects, most of which were highly recognizable and most of which could certainly be identified as being Hanna Barbera effects.

Among the tracks were a thirteen second mix of boings, bounces and slide whistles, a bung zip twang (for want of a description), something that sounded like an engine cranking up (frequently heard in the Jetsons as a wind-up sound for Rosie the Robot and her file cabinet boyfriend), an ascending white noise and whistle Mightor-SuperFriends thing and a couple of squeeze pops. Some of these were used in years prior to in the Gumby cartoons, then later on in the Rankin-Bass Frosty the Snowman and Roger Ramjet cartoons.

I got to audition several of the discs from the Robert Hall Library but curiously none of these familiar effects appeared within the main library. Some of these items do show in the Hanna Barbera Sound FX Library but they are listed as Hoyt's Boings, an apparent reference to the music director Hoyt Curtin. That would suggest that Mr.Curtain may have played a role in originating those sounds. If so, than Robert Hall, in addition to misrepresenting their product, may have unceremoniously lifted them as well.

In reference to Steve's mention of the spin-out-of-control effect, this sound appears in the demo for CartoonTrax, as offered by the Hollywood Edge, but like the Robert Hall story, it does not appear within the library content.

Hanna Barbera came out with several packages of their own in vinyl for broadcast radio as well. There was a series entitled The Hanna Barbera Drop-Ins. One side contained preselected audio one-liners from vintage characters such as Huckleberry Hound and Yogi Bear while the other side offered individual sound effects, including the aforementioned UNNNG bathtub drop in the pool sound. The fidelity left a lot to desired. Most of the audio sounded like it was taken from a source several generations out from the master, like audio from an distribution film copy. I got to hear only one of those discs so I do not know whether any additional volumes were actually made under that series title.

In the late 70's, under Taft Broadcasting ownership, Hanna Barbera produced a multi-volume set listed as The Hanna Barbera Library of Sound. While the majority of material provided was animal noises, there were a few diamonds in the rough and I say "rough" because, like the previous series, it was big time Lo-Fi. AND! Remarkably! The same incredible poor quality was directly transferred to compact disc, where it was sold for a time through Capital Records.

There is yet another CD library which I believe is still available for purchase. This would be The Oconnor Crazies, (Oconnor Creative Services). And this is yet another library where the audio fidelity is not...BUT...it does have many recognizable sounds more associated with UPA Pictures and Hanna Barbera.
Several clips appear to have record scratches embedded within them. There is one interesting clip though, with a woman laughing hysterically. Even though it's just a laugh, it is quite clear that the artist performing is the comedienne Ruth Buzzy, a regular on Rowan and Martin's Laugh In. In addition, the UNNNG sound and one of the Bell Book and Candle effects is also included here. Do a Google search for an outlet nearest your wallet.

It would interesting to see if any of these libraries would appear on EBAY. I have not checked in some time but I did see a Warner Brothers Library vinyl package on EBAY about a year ago that the seller claimed was manufactured in the 1950's. The album covers looked fatigued enough to verify the claim.

With regard to the UNNNG sound, I was wondering where you got this information. It's certainly a better explanation than mine. Sound designers
may go to any length to create something unique and unusual . I have always liked this particular sound. It has to be one of the best recorded heavy metal impact sounds anywhere. It got a lot of airplay at Hanna Barbera simply because the sound guys there really dug the sound. Editor Greg Watson credits Sam Horta as having brought the recording over to their studio. They also mixed the impact sound with a reverse tube rico and a big cymbal crash plus they also made a "bilp" out of it where it plays at double speed and is "curled up" at the ringing part.

Finally, Audio Fidelity Records had a multi-volume set pressed in vinyl for the consumer market about thirty years back. While most of the effects were utilitarian and easily forgettable, there were at least two clips any TV age kid would remember. One was a set of four rapidly vibrating boings, more like twangs, sometimes heard in Under Dog and 60's vintage Paramount Pictures shorts or as late as in the 1990's video incarnations of Sonic the Hedgehog. The other sound was for the 3DBB, the Three Dimensional Black Board that Professor Whoopie (!?!) would pull out of his pocket whenever Tennessee Tuxedo was in a pickle and neeeded expert advice. This was a kind of speed warped collection of electronic sounds in reverberation feedback. I have seen Audio Fidelity Sound Effects up for sale on EBAY so these moldy oldies are still around.

Steve Carras

03-25-2007, 08:12 PM

There was an interesting vinyl disc that circulated around many radio stations back in the 1970's that was actually a demo for a much larger sound effects library. It was identified as the Robert Hall Sound Effects Demonstation Disc which had a running time of about ten minutes. It was a loosely edited montage of crazy cartoon sound effects, most of which were highly recognizable and most of which could certainly be identified as being Hanna Barbera effects.

Among the tracks were a thirteen second mix of boings, bounces and slide whistles, a bung zip twang (for want of a description), something that sounded like an engine cranking up (frequently heard in the Jetsons as a wind-up sound for Rosie the Robot and her file cabinet boyfriend), an ascending white noise and whistle Mightor-SuperFriends thing and a couple of squeeze pops. Some of these were used in years prior to in the Gumby cartoons, then later on in the Rankin-Bass Frosty the Snowman and Roger Ramjet cartoons.

I got to audition several of the discs from the Robert Hall Library but curiously none of these familiar effects appeared within the main library. Some of these items do show in the Hanna Barbera Sound FX Library but they are listed as Hoyt's Boings, an apparent reference to the music director Hoyt Curtin. That would suggest that Mr.Curtain may have played a role in originating those sounds. If so, than Robert Hall, in addition to misrepresenting their product, may have unceremoniously lifted them as well.

In reference to Steve's mention of the spin-out-of-control effect, this sound appears in the demo for CartoonTrax, as offered by the Hollywood Edge, but like the Robert Hall story, it does not appear within the library content.

Hanna Barbera came out with several packages of their own in vinyl for broadcast radio as well. There was a series entitled The Hanna Barbera Drop-Ins. One side contained preselected audio one-liners from vintage characters such as Huckleberry Hound and Yogi Bear while the other side offered individual sound effects, including the aforementioned UNNNG bathtub drop in the pool sound. The fidelity left a lot to desired. Most of the audio sounded like it was taken from a source several generations out from the master, like audio from an distribution film copy. I got to hear only one of those discs so I do not know whether any additional volumes were actually made under that series title.

In the late 70's, under Taft Broadcasting ownership, Hanna Barbera produced a multi-volume set listed as The Hanna Barbera Library of Sound. While the majority of material provided was animal noises, there were a few diamonds in the rough and I say "rough" because, like the previous series, it was big time Lo-Fi. AND! Remarkably! The same incredible poor quality was directly transferred to compact disc, where it was sold for a time through Capital Records.

There is yet another CD library which I believe is still available for purchase. This would be The Oconnor Crazies, (Oconnor Creative Services). And this is yet another library where the audio fidelity is not...BUT...it does have many recognizable sounds more associated with UPA Pictures and Hanna Barbera.
Several clips appear to have record scratches embedded within them. There is one interesting clip though, with a woman laughing hysterically. Even though it's just a laugh, it is quite clear that the artist performing is the comedienne Ruth Buzzy, a regular on Rowan and Martin's Laugh In. In addition, the UNNNG sound and one of the Bell Book and Candle effects is also included here. Do a Google search for an outlet nearest your wallet.

It would interesting to see if any of these libraries would appear on EBAY. I have not checked in some time but I did see a Warner Brothers Library vinyl package on EBAY about a year ago that the seller claimed was manufactured in the 1950's. The album covers looked fatigued enough to verify the claim.

With regard to the UNNNG sound, I was wondering where you got this information. It's certainly a better explanation than mine.

SUre thing. Over at Big Cartoon Database (General Discussion: IIRC Hanna-Barbera)-forgot the topic or thread)..

Very interesting (or..since you brought up Laugh In..VERRRRRY interesting) comments..PS I made a thread (which nobody responded to) on the production music used early at HB (The John Seely canned music topic or something) which no one for some reason, seems to have responded to.

RANDOM ACCESS

03-25-2007, 09:15 PM

Here's a website where you can download for free many interesting sound effects, including those from the Hanna Barbera Sound FX Library:

http://www.sounddogs.com/

The only possible negative here is that the MP3 files are low resolution, usually 8K 16bit mono or 11K 16bit mono. However, since most of these source recordings are ancient to begin with, it should make little or no difference.

Now, not only talk about them but play them on your computer or MP3 player too!

PS: Some comments on production music coming up soon...

Steve Carras

03-26-2007, 10:18 PM

Ah, yes! Cartoon SFX, one of my pet topics.:) :D ;)

[ Some say ABC's concurrent prime-time CALVIN AND THE COLONEL, made by a studio so obscure I can't recall its name
Kayro-Vue/Creston. BTW Creston (in regard to your following haring of the show using Jay Ward/Joe Siracussa SFX and in keeping the Ward connection :D) was the LATTER DAY producer of Jay's landmark "Crusader Rabbit" (under ShullBonsall/TV Spots/Capital Cities.)

RANDOM ACCESS

03-29-2007, 08:24 PM

There have been a number of compact discs produced in the last few years which have focused on the music of film and television animation.
Here are just a few:

1) Hanna Barbera Classics - Volume 1
Rhino Records
Contains main titles, sub-titles and underscores from many first generation
animation efforts such as Ruff and Reddy, Huckleberry Hound, Yogi Bear,
Quick Draw McGraw, Magilla Gorilla and more. Many of the earlier recordings
were sourced from the Capital Records Production Music Library. There is
even one track which was also used as the underscore for My Three Sons.
There was supposed to a volume 2 but I never acquired the disc.

2) The Flintstones - Modern Stone Age Melodies
Rhino Records
Here, all the vocals that were heard thoughout the lifetime of this program.
While the vocals are great to hear, even better are the underscores and
music cues that are sandwiched in between those selections. Included in the
clear is the classic laughing music cue that was used anytime a big joke
needed audio support. All the songs and music beds composed by Hoyt Curtain.

3) The Carl Stalling Project - Music from Warner Brothers Cartoons. 1936-1958
Warner Brothers Records
Carl Stalling was perhaps the best known and most creative music composer
and director at Warner Brothers during their Golden Age. A combination of
select music cues and full length music and sound effects features makes
this disc a must have. There is even a clip of the Yada Yada sound in the
clear at the end of one of the tracks - an easy lift to add to your own
library!

4) Carl Stalling - Volume 2. 1939-1957
Warn Brothers Records
More fantastic Carl Stalling Music, again a combination of of individual
music cues and full length track minus voices.

5) That's All Folks! Cartoon Songs from Merrie Melodies & Looney Tunes.
Rhino/Warner Brothers Records
This is a two disc set including full length features such as What's Opera
Doc? and Three Little Bops and a massive 100 page booklet detailing behind
the scenes activities at Warner Brothers way back when.

6) Warner Brothers Presents Bugs Bunny on Broadway
Warner Brothers Records
This album features newly recorded renditions of classic cartoon music by
the Warner Brothers Symphony Orchestra but there are also some original
audio segments on the disc as well.

7) The Best of WB Sound FX - CRASH! BANG! BOOM!
Kid Rhino/Warner Brothers Records
Some music, a lot of sounds from the commercial Warner Brothers Sound
Effects Library for use at parties, on videos, computers and answering
machines.

8) Toon Tunes
Kid Rhino
A compilation of television animation themes including the best Scholastic
Rock song - Conjunction Junction

9) Music for TV Dinners - the 1950's
Scamp Records.
It is here on this disc where you will find a number of recordings directly
associated with Ren and Stimpy, including Happy Go Lively - Laurie Johnson,
Workaday World - Jack Beaver, Holiday Playtime - King Palmer and Stop Gap -
Wilfred Burns (I believe this last one was used for a number of years on
Bob Barker's Truth or Consequences). Many of these selections were sourced
from KPM and Associated Production Music.

Actually, when you think about it, it's amazing just how much old sound escaped the studio vaults and landed in our own record collections!

RANDOM ACCESS

03-29-2007, 08:29 PM

Here is a sound effects advisory!

Go to: http://www.twiar.org

Click on: This Week in Amateur Radio International.

This is a weekly audio presentation of news and views of interest to the
amateur radio community. Download the program either from this site or from
any of a number of iPOD locations around the net.

Fast forward in about twenty minutes or so and look for three program elements that contain extensive sound effects post production.

Look for the Random Access Thought (sometimes referred to as the Random Access File). And, just before the Random Access segment will be an associated promo, also with heavy sound effects usage.

Then, usually about fifty minutes into the show, there is a so-called QSL
promo. This is where listeners to the program are invited to send in reception
reports in order to receive a post card (a QSL card) in return. This is
because This Week in Amateur Radio airs over the shortwave radio station WBCQ each week at 7415 KHz Saturdays at 4PM ET and Sundays at 5PM ET.

The Random Access programs are known within the amateur radio listening community for the quirky, cartoony sounds that have become directly associated with this weekly feature. And many of these effects are sourced directly from Hanna Barbera, Jay Ward, UPA as well as custom recorded sounds captured right here in little old upstate New York.

Steve Carras

04-05-2007, 01:55 AM

There have been a number of compact discs produced in the last few years which have focused on the music of film and television animation.
Here are just a few:

1) Hanna Barbera Classics - Volume 1
Rhino Records
Contains main titles, sub-titles and underscores from many first generation
animation efforts such as Ruff and Reddy, Huckleberry Hound, Yogi Bear,
Quick Draw McGraw, Magilla Gorilla and more. Many of the earlier recordings
were sourced from the Capital Records Production Music Library. There is
even one track which was also used as the underscore for My Three Sons.
There was supposed to a volume 2 but I never acquired the disc.

Sadly too bad they couldn't get more but at least most is from early-mid 1960s. It was not Capitol really but EMI (their counterpart in Britain) where it originated, that "My Three Sons" tune was "Comedy Walker/Popcorn" by Britian's composer Phil Green. Too little of his music was used on that CD but all that is there (three for QUick Draw and each for Snoop and Blab and Doggies but for some reason none could be gotten for the other series) is, is his (among the - just to cite the "Quick Draw and company" tracks - missing in action here--Jack Shaindlin's tunes, Emil Cadkin and Harry Bluestone's "Happy Home" with strings and Hecky Krasnow's "Happy Cobbler" both of which dotted Augie shorts). I tihnk the next you mention is Volume 2, sadly.

2) The Flintstones - Modern Stone Age Melodies
Rhino Records
Here, all the vocals that were heard thoughout the lifetime of this program.
While the vocals are great to hear, even better are the underscores and
music cues that are sandwiched in between those selections. Included in the
clear is the classic laughing music cue that was used anytime a big joke
needed audio support. All the songs and music beds composed by Hoyt Curtain.

Curtin,actually. Good thing IMHO this wasn't Scooby as that music was not to my liking. I never really cared for the rather saccharine Ann Margret tune included much in recent years (the birth of Pebbles a shark jump point for fans). Still good outweighs the bad and songwriting great Hoagy Carmichael, who sixty years ago had a song that Eddie Murphy's comedy Norbit would have used back then, about fat girls, "Hugging and Chalking", and wrote "Stardust", a song so honored a (now wrecked) legendary las Vehas Hotel/casino/lounge was named after it, is (Carmichael) still there with that "abba Dabba" song!

9) Music for TV Dinners - the 1950's
Scamp Records.
It is here on this disc where you will find a number of recordings directly
associated with Ren and Stimpy, including Happy Go Lively - Laurie Johnson,
Workaday World - Jack Beaver, Holiday Playtime - King Palmer and Stop Gap -
Wilfred Burns (I believe this last one was used for a number of years on
Bob Barker's Truth or Consequences). Many of these selections were sourced
from KPM and Associated Production Music.

![/quote]
Augie Doggie used those as well, as did Gumby and many others. Ren and Stimpy was NOT the first cartoon in USA, anyway, to use those. I am sure that"Rod Rocket","Spunky and Tadpole", "Colonel Bleep" and "Crusader Rabbit" also used those.

wiley207

03-28-2009, 04:27 PM

I apologize for the thread bump, but cartoon sound effects are one of my specialties, and I want to make some comments here!

For that matter, other familiar H-B SFX had their genesis in some Disney shorts, also beginning in the WWII era- particularly those with :donald:, Chip 'n Dale and the Goofy 'instructionals'. It may only occur once or twice in a short, but you can tell. The famous H-B 'wood-splintering crash'; a dull, metallic thud!; and a juicy splat! are the most identificable examples. Disney otherwise used their own, basically nondescript, SFX in their shorts, features and TV specials well into the eighties.

Don't forget the Haunted Mansion-esque Castle Thunder, too!
http://www.hollywoodlostandfound.net/sound/castlethunder.html
Disney used this sound for many years, I think the first to use it was "Snow White and the Seven Dwarfs" (when the undercover Queen laughs after Snow White falls asleep from her apple). And of course, H-B picked it up some time in the early 1960s. The first time I recall them using it was in the Flintstones episode "A Haunted House is Not a Home." After that, just about any time it would rain in a Hanna-Barbera cartoon, or if thunder and lightning was needed (especially in the Scooby-Doo cartoons of the time), you'd hear the Castle Thunder. I think H-B began to stop using it around the early 1990s. Some of their comedy-aimed shows like "Tom & Jerry Kids" and "The Addams Family" still used it, but some others like "Swat Kats" did not. Disney themselves began to stop regular use of it in the mid-1980s, though they continued to use it in "The Great Mouse Detective" and "The Little Mermaid." After GMD, Disney's classic sound effects had all but disappeared from their future films.

The Treg Brown WB SFX were recycled sparingly in the earliest DFE theatricals and TV shows. (While DFE had largely original SFX through the sixties, in the seventies it increasingly used both H-B and 'Jay Ward/Joe Siracusa' SFX for its theatricals and TV product.) When WB began original TV animation production in the nineties, :yakko: :brain: :sylvester :tweety:, they made a welcome return- particularly the beloved 'trombone gobble'. Many CN originals :dexter: :deedee: :bubbles: :blossom: :bcup: of the nineties combined H-B and WB SFX- a possible byproduct of Time Warner purchasing (and liquifying) Hanna-Barbera.

That is right. Some of the Treg Brown WB sound effects were even heard in some of the early Marvel Productions-years programming, like "Spiderman and his Amazing Friends," "Muppet Babies" and even on "G.I. Joe!" Dexter seemed to use a LOT of WB sound effects, IMHO. This also seemed to make it more evident that Dexter was mainly produced by Cartoon Network Studios, using the Hanna-Barbera brand name (until H-B was absorbed by WB Animation, and as a result, CN Studios wound up using their own name again). In fact, the show itself seemed VERY un-HB-like at times, and seemed to remind me of "The Ren and Stimpy Show" on occasion (especially the second season).

I would imagine the extremely obscure Columbia/UPA shorts had their stock SFX, but since they've seldom- if ever- been rerun on TV:( , its hard to tell. The theatrical Magoos, which had some exposure on Nickelodeon's old WEINERVILLE, had no consistent, identifiable SFX. UPA cartoons made for TV were very distinctive: a combination of 'future'- i.e. post-1966 H-B SFX, some distorted 'Ward/Siracusa', and some 'in-house'. (Think of the odd, almost flatulent sound heard when Magoo drives his car off the roller coaster into the electrical transformer in the TV short opening title.) The UPA DICK TRACY shorts take the same approach as the TV Magoos as far as SFX.

I've seen a few theatrical UPA shorts, and heard some familiar sound effects that I easily link to Disney and WB. The TV ones typically combined the old Disney and Jay Ward sound effects. I recall "Mr. Magoo's Christmas Carol" had a LOT of the old Disney sound FX in it, including some that go back as far as "Pinocchio" and "Dumbo."

The 'Ward/Siracusa' SFX, like most of the H-B SFX, were apparently created especially for TV, first heard in ROCKY AND HIS FRIENDS and retained for all subsequent Ward product. This included the Quaker cereal commercials made by Ward virtually until his passing in the mid-eighties. (Many of these marvelous Cap'n. Crunch and Aunt Jemima commercials can be seen on www.retrojunk.com (http://www.retrojunk.com).) The relatively new outfit, Format Films, appropriated them for some of the KFS POPEYE shorts and the prime-time CBS ALVIN SHOW. (T'was quite bizarre to hear the famous Ward explosion/crash applied to Popeye decking Brutus.)

Yep! Format Films's sound effects library seemed to heavily rely on the old Jay Ward sounds. It could be because of Joe Siracusa going from Ward's studio to Format Films, and he took the sound library with him, likewise when he went to DePatie-Freleng later on. I always thought it was funny to hear the famous Bullwinkle explosion and junk crash sounds when the tree fell over at the end of the Chipmunk Christmas song sketch!
Total Television's sound effects library, at least on "Underdog," usually consisted of a mix of their own sound effects and the Jay Ward sound FX library. That seemed to help with the confusion of Jay Ward and Total Television's output (aside from both studios sending their shows to Gamma Productions in Mexico to be animated).

When WB reopened under DFE auspices in the mid-sixties, a couple of :coyote: shorts used the Siracusa SFX- as did all three :daffy: shorts made under Format auspices in 1967. Later that year Bill Hendricks took over production of WB theatricals, and old H-B friend Alex Lovy direction. So you had cartoons with Daffy and Speedy with many H-B SFX. (Numerous individuals on GAC's Termite Terrace Trading Post have derided the Lovy-directed shorts as "making Daffy run like Fred Flintstone". Y'know, the way a cartoon character 'winds up' in preparation for dashing away:shrug: .)

Oh yes, that was very bizzare. However, Warner Bros. Animation seemed to only have 20 or 30 of the classic H-B sounds out of the hundreds that H-B had. They had only one skidding sound from H-B, only one crashing sound, etc. As a result, their sound FX was VERY limited. They also had some classic WB sounds still popping up from time to time, including very obscure ones that were only used on maybe two or three classic 1930s-1950s shorts.

"The first time I remember hearing a WB SFx on a HB show was on 1974's Hong Kong Phooey."

Hmm. I don't recall hearing any WB SFX on PHOOEY. A strange ricochet sound was heard whenever he would go through his Kung Fu motions, and occasionally when dashing away. But otherwise, the SFX were pure H-B. In 1987 the studio, whose product was increasingly farmed overseas, started using more odd SFX- including our old friend, the trombone gobble.

Actually, I remember in the 1972 episode of "The New Scooby-Doo Movies" when they met the Addams Family, when the Mystery Machine was skidding off the road you'd hear a car skid noise associated with WB and Treg Brown, and then when the Mystery Machine went into the ditch, they used the famous WB junk crash sound with the clattering noise at the end!

Most of the PEANUTS specials and theatricals throughout the eighties used a few H-B SFX (most prominently in CHRISTMAS and GREAT PUMPKIN) and the Gobble as well- noticeably when Charlie Brown revs up to kick the football. CHARLIE BROWN'S ALL-STARS and IT'S A MYSTERY, CHARLIE BROWN used some Siracusa SFX as well.

The Peanuts cartoons also frequently had other sound effects from Treg Brown/WB showing up as well. I seem to recall "A Charlie Brown Thanksgiving" featuring many sound effects one would instantly associate with Looney Tunes. The Jay Ward sounds were also used on other Peanuts productions from the 1960s to the early 1990s as well; I recall "Bon Voyage Charlie Brown" had quite a bit of them.

When I first saw the ARCHIE and SABRINA cartoons on CBS Saturday AM, I thought they were H-B cartoons by virtue of SFX, laugh track, and frequent voice presence of Howard Morris and Don Messick. But after further viewing, distinctions emerged- aside from the obvious inferiority of Filmation's animation to that of H-B. While Filmation heavily relied on the H-B SFX, there were some rare uses of Siracusa (the 'fractured clockwork' associated with Super Chicken's transformation) it had some of its own- which sounded vaguely like some used in the mid-sixties Chuck Jones :tomcat: :jerry: shorts).

Yes, some of Filmation's cartoons seemed to resemble H-B quite a bit (Such as the "Groovie Goolies," but others would often have bits of Jay Ward-esque animation! Though I thought "He-Man" seemed to remind me of a Marvel Productions cartoon.
They used some other Jay Ward sound effects too, and a few WB and Disney sounds, but the rest was pure H-B.

From the seventies through nineties, many studios used H-B SFX in varying intensity. Naturally Ruby-Spears would, since its founders were longtime H-B stapes. In addition, there was Bakshi; Marvel (which was an outgrowth of DFE); Chuck Jones Productions (in his Jungle Book and Cricket in Times Square adaptations); TMS (mostly for GALAXY HIGH); Film Roman (mostly GARFIELD and BOBBY'S WORLD); Nelvana (mostly CARE BEARS); DIC (very heavily for the first couple of years of its existence, then barely from 1987 on); Calico (MISTER BOGUS, WIDGET THE WORLD WATCHER); Wolf-Kurimaki (the original syndicated TNMT); Spumco/Carbunkle/Games (all of which are apparently separate studios but are somewhat interchangeable to me due to their products' frequent presence in early Nicktoons).

Hmm, Film Roman also frequently used the H-B sounds on "The Mask: The Animated Series" in the mid-1990s. This seemed appropriate, especially when Stanley was in the form of The Mask! DiC used the H-B sounds a LOT in the first seasons of "Inspector Gadget" and "Heathcliff," but rarely in their second seasons. They'll sometimes use a lot of H-B sounds in their newer productions depending on the content, such as "The Wacky Insult (er, World) of Tex Avery" and "Gadget and the Gadgetinis."

The Fairly Oddparent CHANNEL CHASERS movie parodied several H-B series, so the appropriate SFX were there. You'll never hear them in any regular ODDPARENT episode.

On the contrary, the Fairly Oddparents DOES feature occasional H-B sound effects popping up from time to time. It isn't very frequent, but they're there, and you need a sharp ear to spot them. Most of the time they're speeded up or slowed down when used on the show. Some common ones they like to use are a wolf/coyote howl that is often used when a scene is deserted, the aforementioned "UNNNNG!!!" hit, and sometimes when Timmy is about to run off, a sped-up bongo feet effect.

An ARTHUR episode that parodied SOUTH PARK:eek: (along with BEAVIS AND BUTT-HEAD and DEXTER) had a flying saucer land on Buster with a familiar H-B splat! ("Oh, no! Buster's been squished!") Even though Buster was spared Kenny's regular fate (just a black eye and missing tooth), I'm amazed PBS and CTW would allow references like this.

LOL, I remember that! Though actually, CTW didn't produce Arthur, Cookie Jar Entertainment (formerly Cinar) does. They also used the H-B sounds in the Dexter parody, appropriately. Sometimes you may also hear an occasional classic H-B or WB sound when they're watching a cartoon on TV, or in a dream sequence.

ANIMANIANACS did their own multicartoon spoof, which I've sadly never seen. But whenever an H-B character was evoked, the proper SFX kicked in. Likewise in the hilarious FREAKAZOID! spoof of JONNY QUEST.

Yep. "Animaniacs" also has some H-B sounds popping up from time to time in their regular episodes too, likewise its sister show "Tiny Toon Adventures."

SpaceCowboy

03-28-2009, 09:58 PM

I think it's funny that some of the classic H-B sound fx used to turn up in Saban's old old English dub of Dragon Ball Z (recorded at Ocean Studios) in place of the original Japanese sound fx. They felt so out of place.

The newer unedited Funimation dubs of these episodes thankfully use the much more appropriate sound fx from the original Japanese versions.:cool: H-B sound fx do not belong in anime productions.

wiley207

03-28-2009, 10:47 PM

The newer unedited Funimation dubs of these episodes thankfully use the much more appropriate sound fx from the original Japanese versions.:cool: H-B sound fx do not belong in anime productions.

You can say that again! The English dub of "Hamtaro" had some H-B sound effects added, which they did to give it more of an American cartoon feel. I also remember an episode of "Pokemon," the Pokemon Shipwreck one with the sunken ship, when Jessie and James were scrambling in a panic when their hair was on fire, they used the H-B bongo feet sound. I don't know if this was the original, or if 4Kids decided to add it in. I am sure it was the latter. If PokemonUSA were dubbing this episode, I'm sure they would NOT include that sound effect.

DarthGonzo

03-29-2009, 06:42 PM

The Peanuts cartoons also frequently had other sound effects from Treg Brown/WB showing up as well. I seem to recall "A Charlie Brown Thanksgiving" featuring many sound effects one would instantly associate with Looney Tunes. The Jay Ward sounds were also used on other Peanuts productions from the 1960s to the early 1990s as well; I recall "Bon Voyage Charlie Brown" had quite a bit of them.

It's always fun to hear a cartoony/Treg Brown sound effect in a Charlie Brown special or movie. One that springs to mind immediately is the sound of someone crashing to the ground with a "chunk" sort of noise, which I've heard a lot of in the Roadrunner cartoons of the 1960s. The sound Linus makes when he passes out in It's the Great Pumpkin, Charlie Brown is also a classic.

Steve Carras

03-29-2009, 10:36 PM

I apologize for the thread bump, but cartoon sound effects are one of my specialties, and I want to make some comments here!

Don't forget the Haunted Mansion-esque Castle Thunder, too!
http://www.hollywoodlostandfound.net/sound/castlethunder.html
Disney used this sound for many years, I think the first to use it was "Snow White and the Seven Dwarfs" (when the undercover Queen laughs after Snow White falls asleep from her apple). And of course, H-B picked it up some time in the early 1960s. The first time I recall them using it was in the Flintstones episode "A Haunted House is Not a Home." After that, just about any time it would rain in a Hanna-Barbera cartoon, or if thunder and lightning was needed (especially in the Scooby-Doo cartoons of the time), you'd hear the Castle Thunder. I think H-B began to stop using it around the early 1990s. Some of their comedy-aimed shows like "Tom & Jerry Kids" and "The Addams Family" still used it, but some others like "Swat Kats" did not. Disney themselves began to stop regular use of it in the mid-1980s, though they continued to use it in "The Great Mouse Detective" and "The Little Mermaid." After GMD, Disney's classic sound effects had all but disappeared from their future films.

That is right. Some of the Treg Brown WB sound effects were even heard in some of the early Marvel Productions-years programming, like "Spiderman and his Amazing Friends," "Muppet Babies" and even on "G.I. Joe!" Dexter seemed to use a LOT of WB sound effects, IMHO. This also seemed to make it more evident that Dexter was mainly produced by Cartoon Network Studios, using the Hanna-Barbera brand name (until H-B was absorbed by WB Animation, and as a result, CN Studios wound up using their own name again). In fact, the show itself seemed VERY un-HB-like at times, and seemed to remind me of "The Ren and Stimpy Show" on occasion (especially the second season).

I've seen a few theatrical UPA shorts, and heard some familiar sound effects that I easily link to Disney and WB. The TV ones typically combined the old Disney and Jay Ward sound effects. I recall "Mr. Magoo's Christmas Carol" had a LOT of the old Disney sound FX in it, including some that go back as far as "Pinocchio" and "Dumbo."

Yep! Format Films's sound effects library seemed to heavily rely on the old Jay Ward sounds. It could be because of Joe Siracusa going from Ward's studio to Format Films, and he took the sound library with him, likewise when he went to DePatie-Freleng later on. I always thought it was funny to hear the famous Bullwinkle explosion and junk crash sounds when the tree fell over at the end of the Chipmunk Christmas song sketch!
Total Television's sound effects library, at least on "Underdog," usually consisted of a mix of their own sound effects and the Jay Ward sound FX library. That seemed to help with the confusion of Jay Ward and Total Television's output (aside from both studios sending their shows to Gamma Productions in Mexico to be animated).

And the co-sponsorship getting TOTAL and WARD product both shown together..i.e."Dudley Do-right", which had "The Hunter"..and to add to RANDOM ACCESS"S comments, besides SFX, the stock music Jack Shaindlin used, which was lumped with JohN Seely's, if I haven't said this before, was likewise nomadic-given both composers running their own stock cue service. But that's another topic.

TServo2049

06-07-2009, 07:17 AM

Steve Carras

06-12-2009, 02:11 AM

One weird thing I've noticed; the Gumby short Robot Rumpus had these eerie bleeps and bloops when the robots were functioning. These later showed up in Duck Dodgers and the Return of the 24th-and-1/2 Century on Duck Dodgers' computer control. I have no idea of the path these sounds took from whatever library Clokey used, to the sound effects library used by Rich Harrison, who did the sound editing for Jones' late 70s/early 80s stuff.

However, the one sound effect I associate with Rich Harrison is the weird sucking-in "WHOOPWHOOPWHOOP!" sound effect which was used several times in Soup or Sonic (for example, the first time Wile E.'s rocket fails, and his body falls down before his head catches up). It also showed up in A Chipmunk Christmas, which was produced by Jones' crew; it can be heard, for example, when Alvin falls off the Christmas tree after Dave says that he's to do a harmonica solo at Carnegie Hall (after having given away his harmonica). It's also heard in some of the pre-"TMNT" Murakami-Wolf-Swenson specials, which Harrison was also the chief editor for; the example I can recall off the top of my head is in the first Strawberry Shortcake special, when the river dries up and the heroes' boat falls down into the mud.

On the Carlin Production sites on APM and PPM, EMIL CADKIN and HAROLD BLUESTONE did many John Seely cues AND Sound effects. [CAS Short Bridges and Links, for the exact number] Non downloadable, btw. ALL of those effects you mention, TServo are in there..speaking of which a verison of the old century old tune Hearts & Floweers is in there, but the old T.M.Tamponi[sp?] weeper is a case of recrediting..VIC LAMONT's credited for many of these old SAM FOX re-arrangements but now LEE JACOBS? LOUIS DEFRANCESCO to LEE JACOBS likewise, same for some others, JACOBS, and ROBERT MERSEY [Art Clokey's "Henry & Rodgy" and Gumby "Hotrod Granny" and the Bakshi-Grantrayt Spiderman cool jazz] now DAVID E.MORSE [not to be confused with "The Green Mile's" sinsiter prison meanie] is re-credited]]

BTW A new slew of PHILLIP GREEN cues,["Classic Cartoon Fun", CAR 404] including many HB [including most of the needledrop cues in that old Rhino set..this gives a WAY bigger picture just of those] and the selections above, and of EMIL CADKIN and HARRY BLUESTONE together and seperate. In the latter, BLUESTONE is listed alone [though Dave Shields of the American chapter of the [famous composer] ROBERT FARNON society's got Seely head writer, the much aforementioned BILL LOOSE and HARRY BLUESTONE, PLUS now more confusingly, as I'm one to have known, EMIL CADKIN was with also JACK COOKERLY and BILL LOOSE, or the same except PHILLIP GREEN instead of JACK, and then these in various duos!

HARRY LUBIN has had a number of CDs. released.
CAS 35 URBAN LIFE[SP]
CAS 34 ROMANTIC TREASURE
CAS 33 CHILDREN: FUN AND LAUGHTER - many more Augie Doggie tracks
CAS 32 HORROR
CAS 31 DRAMA AND ?
[notte: not CAS 30 yet!]
CAS 29 COWBOYS AND THE WILD WERST [similiar to CAS 19]
[these, CAS 29 and 19 having various]
[Harry Lubin's got a familiar 1957 Gumby cue "Indian Chants", used when that temperental Native American bily,l goats hits Pokey in the horse's rear end in "Rain Spirits/The Kachinas". Took until a few MONTHS ago for CARLIN to post that one.][ALso many Lee Jacobs, Nino Nardini, Roger Rogert, and Peter Dennis Quick Draw cowboy cues, and a "Mark Winters" cue I definitely recognize in Walt Disney's 1967 Technicolor/Circlevision "America the Beautiful" in a brief partm, played on guitar, or at least I recognize it from some place.

But CAS Short Links has those effects that TServo's mentioned. Too bad apparently Spencer Moore, George Hormel and other Bill Loose cues seem to be still tied up in suing and countersuing as you've mentioned on another popular forum, TServo. Emil Cadkin is still around but suing himself and his publishers...Still glad to see he came through a lot, almost a lot of these have passed. Like the sound FX [as Random Access said some years back here] some of the stock composers was nomadic [Jack Shaindlin and Alexander Laslo, both of whom had cue music in Capitol..]

wiley207

07-01-2009, 04:25 PM

I also remember many of those early 1980s Chuck Jones cartoons (especially "Soup or Sonic" and "Spaced-Out Bunny") using the Jay Ward sound effects library quite a bit. The TV special "Rikki Tikki Tavi" also used some Disney sounds as well (especially during the thunderstorm at the beginning, but they could've gotten those Castle Thunder sounds from Hanna-Barbera.)

The earliest I recall DePatie-Freleng using Jay Ward and Hanna-Barbera sounds was around 1966, and soon by 1972 they began to have a pretty much distinctive sound effect library consisting of a bizzare mix of the classic Treg Brown/WB sounds, and H-B and Jay Ward/Bullwinkle sound FX as well. The Peanuts specials of the 1970s and 1980s, as I've said, also had a sound effects library that was virtually identical to DePatie-Freleng's sound FX library of the 1970s. I guess it was due to Producers' Sound Service providing post-production services for both studios?

Disney's TV animation studio also had some Jay Ward sound effects often heard during the 1980s; it was quite strange to hear one of their boinging sounds often used with Tigger bouncing around (other sound effects Disney Television Animation used were often mostly from H-B, until the early 1990s).

Even "Spongebob Squarepants" has a few Jay Ward sound FX, out of all the places to hear them. For example, they often use the wet "spit" sound (same as when Boris would shoot a spitball from his plane to burst Bullwinkle's balloon in the Season 2 Rocky intro) when Squidward would walk.

Still HowardFein

07-02-2009, 10:19 AM

I also remember many of those early 1980s Chuck Jones cartoons (especially "Soup or Sonic" and "Spaced-Out Bunny") using the Jay Ward sound effects library quite a bit.

Jones' late 1970s specials- the Crickets, Raggedy Anns, Jungle Book adaptations and BUGS IN KING ARTHUR'S COURT- seemed very heavy on H-B SFX. The BUGS' BUSTIN' OUT trilogy still had some, but as you have stated, did have a Siracusa presence as well. When :bugs1: chases Elmer on an errant popgun shot, you hear the distinctive 'bongo drum' running. When :coyote:'s rocket crashes through the side of a cliff, it's to the classic 'Ward crash/explosion'- immediately followed by (originally H-B's) very loud three-pronged explosion- which was often used in Ward's last TV series, GEORGE OF THE JUNGLE.

The earliest I recall DePatie-Freleng using Jay Ward and Hanna-Barbera sounds was around 1966, and soon by 1972 they began to have a pretty much distinctive sound effect library consisting of a bizzare mix of the classic Treg Brown/WB sounds, and H-B and Jay Ward/Bullwinkle sound FX as well.

The first couple of years, the DFE theatricals borrowed heavily from the Treg Brown catalog. Beginning in 1966, the H-B 'skittering away' was used frequently in SUPER SIX; beginning the following year, their upward and downward 'whoop' (someone or something zipping into a frame, an object dropping a short distance) made its presence in all the theatrical series.

DFE really didn't start using Siracusa SFX until about 1970-71 in some of the later Ant & Aardvarks (especially DON'T HUSTLE AN ANT WITH MUSCLE) and two of the nine 1971 Panther releases: PINK TUBA-DORE and PINK FLEA. The following year, more H-B SFX began 'appearing' in the HOUNDCATS and BARKLEYS TV shows, and all subsequent DFE product from them on- in tandem with WB, Siracusa and their few 'in-house' SFX. The 1978 TV Panther cartoons relied most heavily on older H-B SFX to the point they resembled Yogi Bear or Magilla Gorilla cartoons.

The Peanuts specials of the 1970s and 1980s, as I've said, also had a sound effects library that was virtually identical to DePatie-Freleng's sound FX library of the 1970s. I guess it was due to Producers' Sound Service providing post-production services for both studios?

Not so much DFE, but a few recurring H-B SFX (Charlie Brown smacking into the buried mailbox at the beginning of CHRISTMAS; Linus fainting upon seeing what he thinks is the Great Pumpkin) and, most famously, Treg Brown's classic 'trombone gobble' whenever Charlie Brown would try to kick the football away from Lucy. IT'S A MYSTERY CHARLIE BROWN (1981) was rather heavy on Siracusa SFX: when Snoopy would cast a spell, it was to their trademark 'high-pitched humming' (for elevators or Super Chicken's super coop roof operning); a few 'Ward explosions' are heard while he's trying to create an antidote to Charlie's invisibility.

Disney's TV animation studio also had some Jay Ward sound effects often heard during the 1980s; it was quite strange to hear one of their boinging sounds often used with Tigger bouncing around (other sound effects Disney Television Animation used were often mostly from H-B, until the early 1990s).

Never really noticed too many Ward SFX on Disney TV, but some of their first few series were very heavy on SFX (WUZZLES, CHIP 'N DALE, Saturday AM DARKWING episodes, GOOF TROOP); others only moderately so (DUCKTALES, GUMMI BEARS, POOH, MERMAID, ALADDIN). Except for 101 DALMATIONS, every series made after 1995 or so seemed to abandon them.

Even "Spongebob Squarepants" has a few Jay Ward sound FX, out of all the places to hear them. For example, they often use the wet "spit" sound (same as when Boris would shoot a spitball from his plane to burst Bullwinkle's balloon in the Season 2 Rocky intro) when Squidward would walk.

Most Nicktoons not made by Klasky-Csupo used H-B SFX copiously. At first, I figured REN & STIMPY used them to achieve a retro ambience (and because John K cut his teeth with Bakshi's NEW MIGHTY MOUSE, which used some H-B SFX mixed with DIC). But ROCKO, BEAVERS, CATDOG, TEENAGE ROBOT, KABLAM! and CHALK ZONE relied on them heavily as well. HEY ARNOLD used about one H-B sound effect per episode.

Interestingly, H-B's last hurrah with TV cartoons, the CN originals, were very inconsistent in their own SFX use. The DEXTER and POWERPUFF pilots used virtually none; their series would adhere a little more. (DEXTER episodes often harkened back to Treg Brown, with Dee Dee shaking off the effects of an explosion to a trombone gobble.) The JOHNNY BRAVO pilot, on the other hand, was very H-B SFX heavy- but not the series. The two-shots from Pat Ventura (YUKKY DUCK, SLEDGEHAMMER O'POSSUM, GEORGE AND JUNIOR), and the two directed by Hanna (HARD LUCK DUCK, WIND-UP WOLF) abounded in them. Others- HELP!, SHAKE AND FLICK, O. RATZ, YOINK OF THE YUKON- not at all.

Yeah, something I could talk about for hours.

wiley207

07-02-2009, 12:09 PM

When :coyote:'s rocket crashes through the side of a cliff, it's to the classic 'Ward crash/explosion'

They also used that classic 'Ward metallic crash' in "Spaced Out Bunny" (also part of "Bustin' Out All Over") when Hugo the Snowman rummages through Marvin the Martian's flying saucer thinking a pet robot is in there. I recall that crash sound's first use may have been in the 1959 "Peabody" segment about Wyatt Earp (when a chandelier comes crashing down near the end), and I remember it being used on "Bon Voyage Charlie Brown" during a twice-happening car pileup that involves Snoopy's jalopy getting rear-ended (a much louder amplified version of the crash is used when a truck rear-ends them during the second crash before the cars rear-end the truck).

Most Nicktoons not made by Klasky-Csupo used H-B SFX copiously. At first, I figured REN & STIMPY used them to achieve a retro ambience (and because John K cut his teeth with Bakshi's NEW MIGHTY MOUSE, which used some H-B SFX mixed with DIC). But ROCKO, BEAVERS, CATDOG, TEENAGE ROBOT, KABLAM! and CHALK ZONE relied on them heavily as well. HEY ARNOLD used about one H-B sound effect per episode.

Yep, the first two seasons of "Ren & Stimpy," produced by Spumco, and the "Ren & Stimpy Adult Party Cartoon" have VERY heavy use of the classic H-B sound effects, including some rooting deep back into the 1960s. The Games Animation-produced episodes from 1993-1996 didn't use them as often, but they were there. Yes, I think "Rocko" seemed to rely on the old SFX the most, IMO. "Hey Arnold" also usually had about one or two H-B sound per episode, but sometimes if a scene would call for it, there would be more (such as Helga's dream sequence when she's a secret agent in the "Married" episode).

"The Fairly Oddparents" also tends to have some speeded-up or slowed-down H-B sound effects popping up from time to time. You'd need a sharp ear to spot them. I only saw the 2001-2004 episodes, where this occured, not sure about the 2005-2008 episodes,

Interestingly, H-B's last hurrah with TV cartoons, the CN originals, were very inconsistent in their own SFX use. The DEXTER and POWERPUFF pilots used virtually none; their series would adhere a little more. (DEXTER episodes often harkened back to Treg Brown, with Dee Dee shaking off the effects of an explosion to a trombone gobble.) The JOHNNY BRAVO pilot, on the other hand, was very H-B SFX heavy- but not the series. The two-shots from Pat Ventura (YUKKY DUCK, SLEDGEHAMMER O'POSSUM, GEORGE AND JUNIOR), and the two directed by Hanna (HARD LUCK DUCK, WIND-UP WOLF) abounded in them. Others- HELP!, SHAKE AND FLICK, O. RATZ, YOINK OF THE YUKON- not at all.

Yeah, something I could talk about for hours.

Heh, I could talk about this for hours too. I remember the Dexter pilots had a few H-B sounds, but the series had some more. Likewise also for "Cow and Chicken!" Their series had some classic H-B sounds mixed in with sound FX that root back to Disney (but are also often commonly heard on the Nicktoons of the 1990s), resulting in a very Nicktoon-like soundtrack for the series. It's also kinda like that for "Dexter," but making heavy use of classic WB sound FX instead of Disney (yet it still sounded somewhat like a Games Animation-produced Ren & Stimpy episode), such as clown cars making the classic WB "gizmo" sound, etc. And you were right about Dexter often reusing the same ten or twenty sound FX over and over, this was most likely because by this time, each H-B/Cartoon Network Studios co-produced series seemed to have its own distinct set of sound effects, so they wouldn't sound too monotonous. When the show began again in 2001, they began to use the WB sounds less and the H-B sounds more (especially in the "Wacky Races" parody, where the sounds were appropriate.) And I recall beginning around the second season of "Johnny Bravo," you'd hear maybe one or two classic H-B sounds an episode, and this continued into the Craig Bartlett-produced episodes in the final season.

Incidentally, I also own copies of the Warner Bros. and Hanna-Barbera sound effects libraries from Sound Ideas. They're royalty-free (hence the reason why they're so pricey), and they're VERY fun to use (I seem to prefer the H-B library more, but I love to combine sounds from both libraries into my videos and my audio productions.) I also have the "Rocky and Bullwinkle" sound effects library, which means I can finally use many of the classic Ward/Siracusa sound FX "in the clear!"