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The Pro Audio Suite

The Life of a Re-Recording Mixer

A must listen Podcast if you're in audio or voice over. Our panel features industry professionals, George 'The Tech' Whittam, Robert 'Source Connect' Marshall, Andrew 'Realtime Casting' Peters and Darren 'Voodoo Sound' Robertson, plus special guests.

Each week we dive into topics that will resonate with Professionals and home studio owner alike...

The Life of a Re-Recording Mixer

May 17, 2018

The Pro Audio Suite Podcast is a Bi-Weekly podcast designed for Audio Professionals. With your Hosts George (The Tech) Whittam, Robert Marshall (Audio Engineer/Source Elements Creator/Owner), Andrew Peters (Premier Voice Talent/Co-Owner Realtime Casting), and Darren "Robbo" Robertson (Studio Owner/Sound Designer), we cover the gamut of Audio issues. From voice Over tips and tools to Project and Professional Studio set up and fit out, to the latest in gear and everything in between.

This week we chat about weird things that can happen to audio files when you send them over the internet, Robbo tells a horror story about a project he was recently involved in, and George reveals the piece of Antique gear that gives his studio it's "sound", and we talk with Re-Recording mixer and Sound Supervisor from LA, David Raines. A fascinating look behind the scenes of Hollywood production, and an amazing story about the recording of the dialogue tracks for the Sean Connery blockbuster "The Hunt FOr Red October".

Find out more about David Here..

Don't forget to like our facebook page

The Pro Audio Suite Podcast copyright George Whitham, Andrew Peters, Robert Marshall & Darren Robertson.

Products or companies we discuss are not paid endorsements. They are not sponsored by, nor do we have any professional or affiliate relationship of any kind with any of the companies or products highlighted in the show.... sadly! It’s just stuff we like, think is cool and maybe of interest to you our listeners.

“When the going gets weird, the weird turn professional.”

― Hunter S Thompson

00:02

this is a test of the emergency

00:03

broadcast system of high tech for sound

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[Music]

00:15

you're listening to the pro audio suite

00:18

a program for audio and voice-over

00:20

professionals

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[Music]

00:28

welcome to another pro audio suite -

00:31

Robert but we do have George

00:33

good afternoon evening and it's five

00:35

o'clock somewhere it is but not a yeah

00:38

it's repose up in Sydney we've got

00:41

Robert I'm back morning yeah I'm back

00:44

here and did you bring a note ID bring a

00:47

night I bring a note from a very

00:48

apologetic client it's a long story

00:51

shall I regard you later well we were

00:54

very concerned that you had been struck

00:57

down by a bus oh look it sounded well we

01:00

found out you hadn't we was so

01:01

disappointed it's look I am I've been

01:07

talking to a guy about a six-part TV

01:09

series for a while and then everything

01:12

went quiet as jobs do sometimes and so I

01:14

figured I was never gonna see it and

01:16

then two days before we were sporadic or

01:19

we were supposed to record I get a

01:20

frantic phone call from this guy going

01:22

um you know that series I was talking

01:24

about I had it mixed by some guy in New

01:26

Zealand and he sent all the mixers

01:28

across and we've compiled it all and

01:30

sent it off to the TV stations and it's

01:32

been rejected for audio recents and

01:34

video reasons

01:35

can you help um by the way this was and

01:40

this was on a Thursday by the way it

01:42

goes to air on Tuesday this was a half

01:50

hour or 45 minutes 46 minutes or

01:53

something yeah so long story short I was

01:54

basically sitting here redoing someone's

01:57

work who probably should never have done

01:59

the work in the first place because it

02:00

was the I only heard the mix for episode

02:03

1 and it was truly terrible and all that

02:07

place and certainly not compliant we

02:09

have all sorts of strange rules here in

02:10

Australia besides loudness you've got to

02:12

have 12 frames of silencing and 12

02:14

sounds of silence out and know what was

02:17

there and all sorts of stuff so yeah

02:18

that's yeah I think we're the only

02:20

country in the world that has that

02:21

George it's it's um it goes back to the

02:24

analog days when the the station's

02:26

decided they wanted some audio

02:28

separation between between shalls'

02:30

commercials yeah so they come up with

02:33

this rule that you had to have 12 frames

02:34

of silent scene and 12 frames of silence

02:36

out and now we've moved into the digital

02:39

world there

02:39

they never got rid of that he still must

02:41

have that if you don't have it it gets

02:42

rejected so um that was the only reason

02:46

they were all over the place and and the

02:47

video wasn't compliant either so someone

02:50

else had to do whatever they do to

02:51

rescue that so unsafe we got it to where

02:54

but um I wasn't answering phone calls or

02:57

answering emails or anything I was

02:59

ProTools the backside yeah that's right

03:02

yeah so um we've got it interesting with

03:04

the 12 front 12 frames thing that that

03:06

is a real trap for people in producing

03:08

spots outside of Australia for Australia

03:10

yeah yeah I think you said you twelve

03:13

frames out if my memory serves me

03:14

correctly is that rather on commercial

03:16

12 in 12 in and out no it's you know 12

03:19

annoyed that it is so I'm so effectively

03:22

because we were at 25 frames a second

03:24

effect effectively for a 30-second

03:26

commercial you get 29 seconds of audio

03:28

yeah and 30 seconds of picture and 30

03:31

seconds of picture that's right yes

03:33

Foxtel our pay TV network interestingly

03:37

the only requires six sixteen and six

03:41

hour so if yeah if it's going on Foxtel

03:44

only you can get away with six so if

03:47

you're doing a cut so you're doing a

03:48

commercial this is typical isn't it if

03:50

you're doing a commercial for Australian

03:52

TV and New Zealand TV and it was going

03:55

on Fox Fox tell ya that means they've

03:58

got to do three cuts they do one for 30

04:00

second for New Zealand 112 frames in 12

04:03

frames out for Australian live TV yeah

04:06

and then one six in six out for Foxtel

04:10

yeah yes technically yes it depends

04:13

sometimes they'll just do they'll just

04:15

live with the 12 in 12 out and

04:17

distribute that to everybody other type

04:20

of times they will do can you do us

04:21

three mixes yes just depends what I

04:25

learned so much today and I will never

04:28

need that ever again now you stole that

04:31

away in there you know for the next

04:32

trivia night you go to for the kids or

04:34

something yeah you know you know what's

04:37

gonna happen George someone will

04:39

actually one day bring that up and

04:41

they'll say is there any strange rules

04:43

in Australia cuz I'm just making

04:45

commercial for them yeah ah now

04:50

must tell you yeah actually yeah yeah

04:52

yeah that's right they're talking of

04:54

audio issues this is one that we have

04:57

and just to give our listeners an idea

04:59

of how this show works basically what we

05:02

do for this record while we were talking

05:04

to each other and monitoring each other

05:05

we use source connect now but what we

05:08

also do is record ourselves at our end

05:10

so Georgie record yours

05:12

Robert records his Robert records his

05:14

and I record mine call it a game

05:16

double-under exactly then we send

05:19

everything off to Robbo he then lays up

05:21

the four tracks and just gives it a bit

05:23

of a you know slide everything into

05:24

place then he sent it to me and because

05:26

I don't have multitrack I have Wavelab

05:29

which is running a stereo audio system I

05:31

only get the two tracks and is actually

05:33

a split mono feed really so I do the

05:36

Edit on that so I dual the you know deep

05:38

breathing and moving stuff around and

05:39

Counting great lungs out whatever has to

05:41

be done but we've had a couple of issues

05:43

in the last two well the last two I

05:45

think two shows that have been sent to

05:47

me from Rob oh there's a really strange

05:49

thing happening with the audio now my

05:51

audio is fine but everybody else is

05:53

audio it sounds like it's been deist and

05:56

compressed or something and I sent it

05:58

back to rubber and said what is yours if

06:01

you got the same problem and rubber you

06:03

didn't know I didn't it sounds like I

06:06

actually think it is happening on you

06:07

because I had another listen to it last

06:09

night when on you were gonna talk about

06:11

this today I actually think it is

06:12

happening on you but it's not quite as

06:14

noticeable but George to put you in the

06:16

picture to me what it sounds like

06:17

is someone running a de-esser but too

06:21

heavy so it's not just taking the tops

06:23

off the yeses it's taking the tops out

06:25

of everything you know so they're having

06:26

a nice it sounds like a yes is it s is a

06:32

disappearing completely in some places

06:34

yeah so fascinating yeah so it's we I

06:38

rang Andrew and went will you're a

06:40

dickhead because you're running a

06:41

de-esser and Andrew when I don't have a

06:43

DSL and I don't use any plugins

06:47

everything so so what I mean do you guys

06:51

know what I do on my own cuz you never

06:52

even asked what I'm doing on my hand

06:54

okay what are you doing you really want

06:58

to know offended if we can't see you do

07:01

we really want to know what you're doing

07:02

- yeah that's - an imaginary picture

07:07

draws a picture we're sitting

07:10

comfortably children yes okay well I am

07:13

mr. frugal when it comes to stuff and I

07:15

have using gear that is kind of

07:17

collected in my lap over the last 20

07:19

years most of it I didn't buy

07:21

it's just castaways and things I've

07:23

found from other studios along the way

07:25

but I'm using a mic processor between my

07:29

mic and the console and it's made by

07:32

roland it's called an mm p2 and it's

07:35

discontinued for quite a few years now

07:38

it's a stereo mic preamp with processing

07:41

digital processing so it's got expansion

07:44

and compression and EQ and all that kind

07:47

of fun stuff

07:47

and I'm using a decent amount of it I'm

07:51

I I cheat with an expander a lot because

07:54

I'm not in a great sounding studio and I

07:55

don't want anybody to know so yeah I

07:59

have an expander on there and and some

08:01

compression in the EQ is pretty close to

08:04

flat I'm sure I have a high-pass filter

08:06

on there too but I'm monitoring myself

08:11

through the processor so I certainly

08:13

hear what we'd be going to you and it

08:16

does definitely doesn't sound dest or

08:19

been washed in any way so should be okay

08:22

it's not why you're sending us it's

08:24

what's what it comes to me fine yeah and

08:27

then I I stick I lay everybody up in Pro

08:29

Tools yeah and then I bounced out a

08:31

stereo mix for Andrew that sounds fine

08:33

but so and then I deliver it to him via

08:36

hightail uh-huh he downloads is on he

08:39

there's his end and he's got this

08:41

lifeless everything sounds like

08:43

everything cut below about maybe eight

08:47

or nine K I'm sorry above I should say

08:49

everything above eight or nine K just

08:51

disappears and it sounds like this all

08:53

my tds has just been stacking everything

08:56

that's sounds impossible but III if we

09:00

don't know why it's happening I could

09:01

think of a possible theory as to how to

09:03

prevent it yeah without understanding

09:06

why it's happening

09:08

are you sending the files just as they

09:11

are like a wave with nothing later

09:13

they're not zipped into a zip file or

09:15

anything right

09:15

no they're just mixed down so I so

09:18

basically I clean up so if you've one of

09:20

us coughed behind someone else while

09:22

they're talking I'll cut all that out

09:23

yeah dude you're sending a wave file

09:26

right it's just sending a stereo mix

09:28

yeah so basically there's four tracks of

09:30

audio I mixed those down to a stereo

09:32

file and forward that onto a they yeah

09:33

because my hunch is that that file is

09:37

somehow being bastardized in the process

09:41

of being transferred I have no idea how

09:43

or why a great I'm thinking is that if

09:45

you zip it it's now basically encoded

09:49

not in CODIS but it's yeah what's the

09:52

word it's somehow projects rap don't you

09:55

yes and so maybe that will preserve the

10:00

quality it won't make the file much

10:02

smaller cuz waves don't zip down much

10:04

but maybe try that next time I'm gonna

10:07

do that that's a great idea

10:09

and then if Robert was here he would

10:11

certainly be talking about their utility

10:13

called sources zip what yes I don't know

10:15

if it has any utility for us moving from

10:18

stereo to mono stereo to multitrack and

10:22

black and black back and forth but my

10:25

understanding is sources if is designed

10:26

to do basically just that but a lot more

10:28

elaborate where it preserves the track

10:30

format and the you know the violin

10:33

namings you know just it makes it a

10:35

cleaner way to move projects between

10:37

studios you I wish he was here to

10:39

explain it better but maybe Robert might

10:41

um maybe Robert might donate a copy to

10:43

me for the show do you think I have no

10:48

choice that's his payment for not

10:56

turning up this week justice in a site

11:01

to that George I'm just having a look at

11:03

the MP 2 here on on Google that's

11:05

fascinating I've never seen one of those

11:06

before

11:07

yeah the MMP - yeah by rolling yeah

11:10

24-bit 96k yeah

11:13

what model like modeling preamp and it

11:15

has a mic modeling feature which Roland

11:17

was doing way back in you know kind of

11:19

the early days of that techno

11:21

and I don't use that feature to me Mike

11:24

modeling is which is a whole nother

11:27

topic we can go on if you like another

11:30

die think it's something I've been

11:31

thinking about lately because I watched

11:32

to see if it Steven slate interview

11:35

which creates the virtual microphone

11:38

systems but it has a mic modeler that I

11:41

don't use so I'm just using it because I

11:43

want to have an expander and a little

11:45

bit of compression on my mic so I can

11:47

get away with having my Mac Mini and

11:49

everything in just one room and you know

11:52

not have proper isolation yeah very well

11:56

so where'd you find that on in a garage

11:58

sale somewhere or something man you know

12:01

I just I just

12:01

I've I've spent time on websites like

12:04

gear slots of course over the years but

12:06

I've also googled tremendously like the

12:09

next cool thing to set up in a home

12:11

voice actors a studio you know what

12:13

channel strips and such and so forth and

12:16

this thing just popped up on the radar

12:17

I've had it for at least five or six

12:19

years so I can't remember where I saw it

12:22

but when I by the time I heard it it was

12:24

way out of production and no longer

12:27

considered really desirable so I think I

12:29

only paid probably $150 maybe less for

12:33

this thing so well um it's doing a

12:36

fantastic job for what it is yeah it's

12:38

fascinating I've got a question for you

12:40

George if you're on gear slots

12:42

Bogey's months what's your name

12:45

oh um you know what I have not been on

12:50

gear slots for quite some time

12:51

I would have to log in and actually look

12:53

and see what my name on there is but one

12:56

of my old user names that I came up with

13:00

when I was in college that I was still

13:02

used to this day on certain sites is um

13:05

when typing in now his sound gun so oh

13:10

if you ever see sound gun anywhere out

13:13

yep it just auto logged me in a sound

13:16

gun on gear so look at that

13:19

everybody now knows I gave it away sound

13:23

good because there's somebody because

13:24

I'm El Cid Els ID okay oh I know I

13:30

thought I've dropped a few things in

13:32

there which you been so

13:34

way off the mark anyway just my opinion

13:37

but there's a couple of people on there

13:39

I think is one called Fraser mm I don't

13:42

know what his real name is but there's a

13:44

couple of guys and they're obviously I

13:46

think phrases actually works in a store

13:49

or something and he's a techie dude I

13:51

think that's you know it's like he's a

13:52

dweeb right into gear selling gear and

13:54

fixing gear yeah but there's a couple of

13:56

other guys and I I read this stuff a

13:58

nice like I reckon they're really like a

14:00

high-end audio engineer like record

14:02

engineer you can just tell by the way

14:04

they talk and the things they talk about

14:05

and can tell that they're in like you

14:07

know sunset sound or you know somewhere

14:09

like that and they're really well-known

14:11

audio engineer like a chick irelia or a

14:14

bloody um you know those kind of guys

14:16

but I'd love to know who they are but

14:19

they hide behind these pseudonyms so

14:21

know who they are yeah exactly exactly

14:23

well yeah if you see anything sound gun

14:25

I don't know if there's anybody else out

14:27

there with the same name but I I think I

14:30

came up with it in college I wanted to

14:31

have a sound that was accurate and

14:33

powerful so a sound gun oh I just take

14:40

Rob oh and stick a couple of numbers

14:42

after it yeah that's right Robbo 62

14:46

Robbo 77 Robbo 428 it's funny what's

14:51

funny with nicknames isn't it I'm we're

14:53

getting off topic here but when I first

14:55

left full time radio and went freelance

14:57

I went from rock and roll radio at

15:00

Triple Aim where I'd been for 13 years

15:01

and I ended up working for the ABC which

15:04

is the government broadcaster here their

15:07

youth station called triple j which is a

15:09

National Youth Network and if it was my

15:13

first day there freelancing I was there

15:14

for a couple of weeks and on walking

15:16

down the corridor a couple of CDs in my

15:18

hand heading back to the studio to make

15:20

a promo and the program directors

15:22

standing at the other end of the

15:23

corridor going Darren Darren Darren

15:26

finally goes Rob oh yeah so used to Rob

15:33

I would was even zoned out to Darren

15:35

wasn't even thinking being at the ABC

15:39

they could have called you mr. Robertson

15:40

that's right exactly

15:42

yeah indeed yeah yeah that song that was

15:44

always a classic they're talking gear

15:45

slot so I did see something pop up and

15:47

gear slots nice

15:47

sent a link to you George and Robert

15:50

because once again the road thing is

15:52

intriguing me they've just launched a

15:55

few different microphones a few new ones

15:57

but the one that looks really

15:59

interesting for voice-over is the NT 49

16:03

mm-hmm

16:04

and I did see that mention on gear

16:06

as well couple of guys who said it is

16:08

anybody seen one yet or Nathan

16:10

Thomas 49 NT 49 yeah yeah mm-hmm

16:14

November tango November says the proper

16:17

yes the proper yeah phonetic alphabet

16:20

nice and sexy looking a little based

16:22

isn't it it's really because if you

16:25

remember they did the ribbon they the

16:27

NTR was the ribbon microphone they did

16:30

that was the first one with that kind of

16:31

shape and and now they've done the anti

16:34

50 which is an omni microphone comes in

16:37

pairs and that's for recording like

16:39

orchestras or that way you need an omni

16:41

mic and then off that they've done a

16:44

variable capsule for that body as a

16:47

condenser mic yeah which looks really

16:49

really interesting I wonder how much the

16:51

body effects the sound because that's a

16:53

big thing with norman like they've

16:54

they've patented the shape of the head

16:56

basket on the u67 for example when you

16:59

know and yeah yeah i find it intriguing

17:02

um and they've obviously done a lot of

17:05

research and development and i know the

17:06

guy that we interviewed Peter who's the

17:09

Belgian guy that joined them about a

17:11

year ago and he was involved in the the

17:13

I I won the little interface has also

17:16

been involved in the development of

17:17

these microphones so I'm really curious

17:19

what they're gonna sound like so I've

17:21

put in a call to Road just to see if

17:22

they'll let us borrow one just to check

17:24

it out but I haven't heard anything back

17:26

as yet but I shall keep you posted but

17:29

told you looks rolled out officially

17:30

right here on exactly but yeah I look

17:36

I'm I'm really interested in what

17:38

they're doing because they're they're

17:39

certainly taking on the big boys now oh

17:43

yeah no I haven't always been impressed

17:45

with Road I even had a I might have

17:47

mentioned this before I even had a

17:48

dealership at one time when I was

17:50

dabbling and selling equipment which I

17:52

won't do anymore

17:53

then they were so nice too to deal with

17:57

that just a guy you know who's just a

17:59

guy installing gear and they were happy

18:02

to set me up as a dealer and let me

18:05

resell their product and their

18:06

distributor I think they're US offices

18:08

were in Santa Barbara or something okay

18:11

not far away

18:12

and so I just they were really nice to

18:14

deal with rode great company yeah yeah

18:17

so there you go that's another knee mark

18:19

have you come across any anything in the

18:21

microphone area that said caught your

18:23

eye well I was just mentioning maybe

18:26

before we were on went on the air at

18:28

this whole these virtual mic systems and

18:31

there's a couple of them out there now

18:33

there's the VMS from slate digital and

18:36

then there's the Townsend labs speer p22

18:40

I think it is something 22 and they're

18:44

they're both designed around the idea

18:46

that you can take one microphone that's

18:48

a known quantity and then from that

18:50

microphone emulate any other microphone

18:53

and the slate system actually they sell

18:57

their own mic and their own preamp the

18:59

the main thing that you're really buying

19:00

though or buying into is the emulations

19:03

and it's totally done on native software

19:05

so I guess the advantage of it is that

19:08

you don't have to use their preamp and

19:10

you don't have to use any other extra

19:12

hardware you just have to have the mic

19:13

as long as you have an extremely flat

19:16

preamp it'll work with really any preamp

19:19

and then they emulate the microphone and

19:23

tests I've heard and the buzz and the

19:25

business and these guys have been out of

19:27

for a few years now is that it's it's

19:29

pretty legit it's the real deal but it

19:32

entirely relies on plugins so it's not a

19:35

hardware solution as much as it is a

19:38

software solution whereas the Townsend

19:41

labs system is a little bit more I don't

19:44

know

19:45

hardware related and the other thing

19:47

that makes the towns and labs might

19:48

quite different is that it has two

19:51

capsules and each capsule has its own

19:55

output so it kind of appears like a

19:58

stereo mic but whereas your typical

20:00

cardioid or switchable pattern mic you

20:03

know has two capsules but then the

20:06

the two capsules are blended together

20:08

and phased in and out to make it an omni

20:10

or a cardioid or a figure eight with the

20:13

spear system those two capsules are

20:15

completely in an independent completely

20:17

independently controllable within the

20:19

software so you can shape the pickup

20:22

pattern and do all kinds of wacky stuff

20:24

in the computer after you've recorded

20:26

something so you can basically steer the

20:29

pickup pattern where you want and on all

20:31

and any off any side of the microphone

20:33

and you can change the impedance of the

20:37

microphone all sorts of stuff from a

20:40

control panel so that's kind of a new

20:43

technology that bleeding edge of

20:45

microphone design I think right now is

20:47

that sort of technology and I haven't

20:50

demoed these in my own world where I've

20:52

gotten to play with them yet but it's

20:53

definitely on the radar hookup Townsend

20:56

labs Townsend T o WN Sen D lab dr. Diaz

21:01

and you'll find the sphere L 22 which

21:05

sells for $1,500 u.s. whereas its

21:09

competitor the slate digital Mike with

21:13

preamp and software is $1,000 so okay so

21:16

what are you saying is there 1500 yeah

21:18

this is more expensive but it's also

21:20

more sophisticated yeah but doesn't I

21:23

mean in terms of something anything that

21:25

seems entirely new to me those are some

21:28

of the entirely new ideas other than

21:31

that like trying to think what's like a

21:35

game should I mean I can't think of any

21:37

mic that's coming along and saying okay

21:39

everybody stop using the 41 six and go

21:42

get this like remember we've created our

21:49

own monster yes I haven't found the mic

21:53

that's truly dethroned it I mean I

21:55

always hearing about this micro that mic

21:57

that people tend to feel might favor but

22:00

it's amazing how often someone will have

22:02

that mic and something else and then

22:05

I'll ask them which one are you using

22:06

most of the time and they'll say the

22:08

forty one six and I don't know if it's

22:10

momentum laziness it just works

22:14

familiar familiarity it's obviously not

22:18

a bad mic

22:20

it's a it's a very good mic but it's not

22:24

a flat mic it has a sound it just

22:27

happens to be a sound that works well

22:29

for a lot of voices on a lot of kinds of

22:31

stuff that's right exactly

22:33

and it's it's true because I mean I've

22:35

got a TL m103 in the cupboard but I

22:39

rarely drag it out mm-hmm you know if

22:42

I've booked a voice talent which is rare

22:45

for me most of my voice recording I'll

22:47

dry hire a studio rather than do it here

22:51

in a in a project studio but I do I

22:55

rarely drag it out it's it's Erin

22:56

whenever I'm recording this sort of

22:57

stuff on my wife's recording voiceovers

22:59

the Sennheiser's the go-to yeah I mean

23:02

it's also more advantageous in a home

23:04

studio scenario whether maybe your noise

23:06

floor isn't the greatest to the 416 will

23:09

attract more background noise and have

23:11

some practical reasons to but the other

23:14

mic that's not that people are getting

23:17

interested in because they want an

23:19

ointment but maybe not want to spend

23:20

thousand-plus as the TL on one out - and

23:23

it's my I was just talking to a friend

23:26

of mine voice actor and fellow techie

23:29

head Graham Spicer and he said he's

23:31

finds himself using the t LM 102 now

23:34

more than anything and he likes it

23:37

because it has a more of a flat response

23:39

until you get to the top where it has a

23:41

big has a bump at the top whereas the

23:44

103 kind of has a rise in the upper

23:47

mid-range and has a little bit more of

23:49

that

23:49

u-87 mid-range bump that doesn't always

23:54

work for everybody it can be a little

23:56

nasal or a little honky sounding and

23:59

that one or two doesn't have that so

24:01

that's an interesting alternative if

24:03

you're looking for a different flavor

24:04

it's also a more affordable just look

24:06

that up

24:06

I'm 850 bucks us yeah that's the that's

24:10

the affordable Neyman no no and I've

24:14

heard of a lot of voice actors being

24:15

recommended that mic for their first

24:18

studio set up and nothing wrong with

24:20

that recommendation I just I guess cuz

24:22

I'm kind of a cheapskate I don't usually

24:24

recommend it $850 a mic for the first

24:26

voice actor studio I'm gonna stick mend

24:29

something 300 or less usually like the

24:32

NT one or

24:33

an 80 40 40 or something like that but

24:37

the 102 is a different take on their the

24:41

mic the anointment sound it's a it's a

24:43

different sounding mic than a lot of the

24:45

others yeah well one of the mics I use

24:47

and you'd probably look this one up as

24:48

well is a couple of micro tech refills

24:50

here and the first micro tech FL I

24:54

bought was the m9 30 right and if you

24:58

have a look at the patent on that on you

24:59

know because it's fixed

25:01

you know cardioid but have a look at the

25:03

have a look at the patent on that you'll

25:05

see what I mean it's pretty flat it's a

25:07

perfect beautifully made microphone so

25:09

they have a bunch of them do you know

25:11

what variation you have just the m9 30

25:14

but I did get the I did get the

25:16

limited-edition one when it came out

25:18

which was $2,000

25:20

know it which was the George Norman 80th

25:24

anniversary one you know what's really

25:26

awesome if you want to look at and

25:28

really geek out and compare microphones

25:30

are you familiar with a website called

25:31

recording hacks calm oh yeah yep yep he

25:35

makes design much he does it does make

25:37

several but what's cool is they have the

25:40

ability to look at a frequency response

25:41

and then overlay another microphones

25:44

response it's really cool so if you're

25:48

looking at I'm doing it right now if

25:49

you're looking at a mic like them 1 930

25:51

you'll see in the specifications area

25:54

the curve if you click on it it pops out

25:57

a window and then in that window there's

26:00

an empty box that says select another

26:01

mic and you just start typing the name

26:03

of the mic and it pops up and so I typed

26:05

in caddy 100's because this is one of my

26:08

favorite mics that it just sounds

26:11

surprisingly good

26:13

it's us-made for people that find that

26:15

intriguing and it's under 500 us and it

26:20

sounds fantastic very low noise and I

26:22

want to I wanted to line those two up so

26:24

because when you mention that you and I

26:27

saw the curve it said that looks like

26:28

the e100 s-curve and it's very similar

26:32

they just have their peaks at a little

26:34

bit different spot though 930 peak is up

26:37

higher it's above 10k which I kind of

26:40

liked actually and the the cads peak is

26:45

maybe at like 8 K

26:46

so but other than that they're really

26:48

similar very flat across the board

26:50

otherwise yeah I also like that that 930

26:53

is so small which actually the 102 is

26:56

also a very compact mic you might not

26:58

notice it without context but the 102 is

27:02

maybe almost half the size of a 103

27:04

physically so it's the one two nine

27:07

thirty and then one or two are very

27:09

similar in shape which is kind of nice

27:11

for voiceover because it doesn't

27:13

obstruct your copy as easily are the

27:16

inline 30 is great and also was that mic

27:18

I used to take on the road with me

27:20

because if I'm using like the Porter

27:23

booth it's perfect

27:24

cuz it's small it just sits in there you

27:26

know it doesn't get in the way at all I

27:27

have to remember that one I I've heard

27:29

that one come up a voice actor here in

27:31

the US who does a lot of blogging named

27:33

Paul Strickler de is a really big fan of

27:36

that microphone well you know the funny

27:38

thing is about Paul years and years and

27:40

years ago I did a thing I think it could

27:42

have been on Kia slots or somewhere and

27:44

I mentioned that that the chain I used

27:47

was an m9 30 and a grace m101 and that

27:52

was from advice from a guy here in

27:53

Melbourne mm-hmm and I put that up there

27:55

and he ended up because when I spoke to

27:59

him about the the microphone said IB he

28:01

actually in one one and oh yes yeah and

28:05

but he went and bought the m101 he said

28:08

Oh and I said what made you buy the mono

28:10

one he said I read it somewhere that you

28:12

know that microphone in that preamp

28:14

worked really well together and they're

28:15

fantastic and I said yeah that one sir

28:21

yes but it's you said that is a really

28:25

really nice chain to have the M 930 in a

28:29

my nose it's beautiful

28:31

I mean we do have a special guest

28:34

actually live on the line disfranchise

28:37

it is we've got expat Ozzy who now lives

28:43

in Hollywood and he's working in film

28:45

and television doing audio yeah an old

28:47

radio buddy of mine and yours indeed

28:49

indeed it's David Raines so uh so Dave

28:52

wanted to to get us started why don't

28:54

you give us an idea of your average day

28:56

at work then at the moment what are you

28:57

doing what are you

28:58

you working with what are you doing what

28:59

are you working on oh it varies quite a

29:02

lot I have a couple of different roles

29:05

here primarily I used to get hired a lot

29:09

as a recording mixer and now I get hired

29:11

to both mix and supervise re-recording

29:16

is what they call when you're when

29:18

you're you know mixing a television show

29:20

or a feature film so in that role I get

29:22

hired by either by the major studios or

29:25

by a certain production and you know I

29:29

come into the facility and work with the

29:31

crew and help steer the the mix and

29:34

obviously do the mixing as well get

29:37

hired as the sound supervisor which is

29:39

usually someone who's involved much

29:41

earlier in the show or in the movie and

29:45

you come in and you work with the

29:46

picture editor and the director and

29:48

composers and sometimes the

29:50

screenwriters you know budget the sound

29:53

high the crew often I choose the

29:55

facilities to be used in collaboration

29:58

with the filmmakers and then sort of act

30:00

acute the direction of the soundtrack

30:02

and then as part of that sometimes I'll

30:04

do the mixing as well so does that

30:06

happen

30:07

before production even begins sometimes

30:10

it does it's it's great when it does

30:12

it's rare I have a few filmmakers that

30:17

insist on me being involved while their

30:19

screenwriting and definitely in the

30:22

pre-production a lot of studio

30:26

productions don't just not set up that

30:29

way it really takes the filmmakers

30:32

pushing that direction for it to happen

30:34

that's fascinating because I just have a

30:36

very small stint in production mixing I

30:39

never got to the Union level but I had a

30:41

taste of that for a few years so it's

30:43

interesting the interesting to hear how

30:45

what you do fits into the timeline of

30:48

the sound post on the film yes and I

30:51

would say that I've done about a day or

30:54

maybe two days of actual production

30:56

mixing as I I don't I don't profess to

31:02

have the skills to be a production mixer

31:03

and but what I have done is been you

31:07

know I work on one series up here that

31:08

was shot up in Canon

31:09

and I worked with that production crew

31:12

producers and everyone else but also

31:15

that sound production crew for about

31:17

five years straight and I used to fly

31:20

myself up to Canada on my own dime every

31:23

year before we went into post but while

31:25

I was shooting to just go on the set and

31:28

see what those guys were doing because

31:30

they were amazing Wow

31:32

and they're all good friends of mine but

31:34

like I said I don't profess to be and be

31:37

the guy who can do that

31:38

when I'm involved in you know product

31:41

pre-production and you know prior to

31:43

film shooting

31:44

it's from a the perspective of how are

31:47

we going to make this film feel

31:50

emotionally what subjects are we going

31:53

to bring to it from a sound perspective

31:55

what can sound bring to the screenplay

31:57

and to the perspective of the shooting

32:00

that will mean that it is a more or less

32:03

emotional journey for the audience

32:05

depending on what the filmmaker wants so

32:07

for your your day or the average day

32:10

working on a film what does that entail

32:13

I mean because for a lot of people who

32:15

are listening and probably thought

32:16

you're on the faders doing a mix but

32:18

obviously we just worked out you not so

32:19

what do you actually do I do do that

32:22

absolutely and when I'm on a mixed stage

32:25

and I'm mixing it's the standard mixed

32:26

day having today the standard mixed day

32:28

here is here's a minimum of nine hours

32:31

at the console or running the room and

32:36

that process of mixing is broken into

32:41

sort of parts you know the dialogue pre

32:43

dubs the effects products

32:45

music production cetera and then what we

32:48

call the final which is bringing all

32:51

those elements together and working out

32:52

what the final print is going to sound

32:54

like so yes I will do that but more

32:57

lately is this only the last couple of

33:00

years I've been doing a lot more

33:01

supervising such a standard day it can

33:05

vary tremendously I could be out

33:08

recording animals or vehicles or weapons

33:13

or any you know key story element that

33:18

needs a library built for the production

33:21

I could be

33:23

you know editing dialogue I could be

33:25

editing staff and you know sound effects

33:26

mostly I have a crew who does that stuff

33:30

but as a supervisor arms are killed in

33:33

all those areas so I will usually get my

33:36

feet wet in all those areas to a greater

33:39

or lesser degree working a lot with

33:43

actors is often something I do for

33:47

instance I just did an action picture

33:49

for an Indonesian director last year

33:51

which we finished down at Paramount and

33:53

I spent two weeks in Jakarta shooting

33:56

ADR ADR for those of you that don't know

33:59

is dialogue replacement

34:01

so getting the principal actors to maybe

34:05

reread lines to add to them to clarify

34:08

story or in the case of this film was a

34:12

big action film and there were groups of

34:14

people running around the jungle trying

34:15

to kill themselves or kill each other

34:17

rather it was about creating tension in

34:20

the track in terms of hearing the other

34:23

people moving around you know the jungle

34:26

gosh I can imagine the challenge of

34:28

getting any kind of usable dialogue in

34:31

that kind of environment I mean I'm sure

34:33

they're better at it now than they ever

34:34

have been in the past but it still got

34:36

to be very difficult actually that

34:39

production in particular had really good

34:41

production sound some of the things that

34:44

production mixes do I don't know how

34:46

they do it but but what they do and the

34:49

tracks that they're able to bring into

34:51

post are unbelievable but what it

34:56

usually takes for that to happen is for

35:00

the production to treat you know to give

35:02

them some authority on the set and to

35:04

sort of back them up because if you look

35:08

at a decent sized film production there

35:10

might be a hundred people on the set of

35:12

which only you know four or five of them

35:14

might be cast and there's on even on a

35:18

big film there's only three sound people

35:21

on today so there's there's 90 odd other

35:25

people that are really just related to

35:27

the camera department and everything

35:29

associated with the picture so you know

35:32

wardrobe production production design

35:34

everything else so

35:36

all those people are focused on what you

35:37

see and there's only really three people

35:39

on the set focused on what you hear and

35:41

so just the physics of the environment

35:44

the physics of the number of people on

35:45

set make it very difficult for a

35:47

production sound crew to get good sound

35:49

unless they have an entire production

35:53

from the producers on down that respects

35:55

their role if they don't then the track

35:57

won't be any good it's interesting I've

35:59

seen you because when you look at a

36:01

soundstage or or actually a film set

36:04

they're not designed particularly well

36:06

for audio so there must be a huge

36:09

challenge if you're the audio person on

36:11

set yeah my perspective you know it was

36:16

ridiculous at times the and I was again

36:18

I was working at the low end of the

36:20

spectrum budget wise

36:22

but generally I understand it's probably

36:24

not that different going up the food

36:25

chain

36:26

you know you're you're just like he said

36:29

I mean I always felt like we were the

36:30

redheaded stepchild of the production

36:33

you know if we were lucky we had to

36:35

sound people on set at that budget and

36:38

they was getting it was very difficult

36:40

to get your - to get them to even give

36:43

you room tone at times you know let

36:46

alone anything else so yeah it was very

36:49

challenging to get usable sound yeah

36:51

it's very like I said it all comes from

36:53

the top and it all comes from you know

36:56

the great production crew I worked with

36:57

up in Canada they did a pilot that they

36:59

were shooting mostly in Calgary but and

37:02

they were based in Calgary which is in

37:04

the middle of Canada but they went out

37:07

and shot a pilot on the west coast in

37:09

Vancouver and I ended up mixing that

37:11

pilot and those tracks were just as bad

37:13

as all the other tracks I've received in

37:14

television and that told me oh you know

37:17

what it's not the production crew these

37:19

are the producers they didn't give them

37:21

authority they didn't back him up on the

37:23

set they didn't give them you know an

37:25

environment that promotes the ability to

37:28

record good sound and so therefore the

37:30

founders many could yeah we I mean we

37:33

use digital cameras back in that early

37:35

2000s it sounded like a refrigerator

37:37

when do you decide it's time in your in

37:41

your role to go out and get elements go

37:43

do field recording and and because

37:46

obviously you must have some

37:48

massive sound libraries to draw from

37:51

it's a collaborative decision and you

37:55

know because there always involves

37:56

spending money so you know you've got to

37:58

get the production to pay for it right

38:00

and you know like in every you know film

38:05

is a one of the guys you wanna brothers

38:07

said to me years ago he said you know

38:09

it's a handmade product from start to

38:11

finish

38:11

film in general but sound also and so

38:15

you look at every single piece of in the

38:19

case of sound every piece of sound that

38:21

goes into a track and if it is not

38:23

handmade the right way for an emotional

38:26

response that is the right promotional

38:28

response you're looking for in that

38:30

scene or that moment or that emotional

38:32

beat then it's not the right sound you

38:35

know you can have I've used really sort

38:38

of old you know I've used sound ideas

38:41

series/1000 sound effects in big movies

38:43

not because they're terribly great even

38:46

recordings as it relates to these days

38:49

recordings but they're the right sound

38:51

for that emotion so in terms of making

38:55

your decision about whether I go and

38:57

shoot something it comes down to do we

38:59

have the right sounds for the emotion

39:01

we're looking for in this in this moment

39:03

and if we don't then we generally go and

39:07

try and record it

39:08

my sound library at home but you know my

39:11

personal library which I've been

39:12

building for nearly two decades now it's

39:16

pretty large but it's not it's only

39:18

about the quarter of the size of the

39:20

major studios sound library and even

39:24

then with a major studio behind me I

39:28

often will make the decision or try and

39:31

get the production to get us involved in

39:34

recording you know something new for

39:36

instance I did a documentary I was at

39:39

Universal at the time and you know

39:41

they've got a pretty big library it's

39:43

it's I don't know six seven hundred

39:45

thousand sounds I guess and this

39:48

documentary was about elephants and it

39:50

was about the fact that elephants are

39:52

going to be extinct in the wild in

39:54

Africa body into this decade unless

39:56

something changes and so the filmmaker

40:00

was very empathetic towards elephant

40:02

spent several years in Africa shoe you

40:04

know recording the film shooting the

40:06

film but of course in the process of

40:09

acquiring the footage they used for the

40:11

film when you shoot documentary style

40:14

it's generally pretty rough in terms of

40:16

soundtrack and so we had these beautiful

40:18

emotional shots of elephants but the

40:21

sound wasn't anywhere near intimate

40:24

enough for those moments and so I

40:26

convinced the picture editor to convince

40:28

the director to give us some budget to

40:31

go on record elephants and I wrangled I

40:33

had five African elephants for about a

40:36

day at a sanctuary up near Monterrey on

40:39

the California coast and we recorded

40:42

these elephants and then of course

40:43

brought them back in you know cleaned

40:45

all the recordings up put them in our

40:47

library and then started editing and

40:48

editing the men into the picture and the

40:51

weird thing about it was even though the

40:54

filmmaker had made the decision to give

40:55

us a budget to go and do it she didn't

40:57

really understand what it was going to

40:59

do to fit film and that became obvious

41:02

to me when we came down to Los Angeles

41:04

because they were cutting up in Oregon

41:07

she came down to LA and we press play on

41:09

the first reel to run the the track with

41:12

her and give her an idea of how it was

41:14

coming together and she pretty much

41:17

cried through the whole reel Wow

41:20

and and it was about her emotional

41:23

response to hearing the intimacy of

41:25

these elephants and and what elephants

41:27

do when they are being very passive and

41:30

very very human actually

41:33

and it you know it's mostly the

41:36

rumblings not the trumpeting sound but

41:37

the rumblings and the swishing of the

41:39

trunk and those kind of sounds settle

41:41

it's kind of forgotten what those sounds

41:42

were like and what they would would do

41:44

for an audience and obviously what they

41:46

did for her that's fantastic wow that's

41:49

nice but it was it was very much a

41:51

collaborative decision but getting back

41:54

to your original question the first

41:55

thing we do is try and use them you know

41:57

the material we have it's funny though

42:04

isn't I mean I actually came across

42:06

something not on the scale of what

42:08

you're talking about but I was actually

42:09

doing a comedy sketch for a radio

42:11

station I do some work for up in

42:13

Singapore and there was

42:15

of seen in inverted commas in this radio

42:17

sketch where someone walked into the

42:19

room and I couldn't find a door I know

42:23

it sounds stupid but I couldn't find a

42:24

door opening and closing that sort of

42:26

seemed to make it work and I remembered

42:29

jeez we were talking about our radio

42:31

days before the interview but about 20

42:33

odd years ago my old boss in Brisbane

42:34

had this door that he used to use for

42:36

the breakfast show and one of the

42:38

characters would sort of inadvertent

42:39

commas enter and leave the studio we

42:42

used to call it but we still call it the

42:43

comedy door because it just it's perfect

42:46

and actually ended up ringing him and

42:47

getting him to sent it to me because

42:49

purely because I couldn't find anything

42:51

else that was right and and and that's

42:53

the magic of it isn't it is finding that

42:55

sound that is just absolutely spot-on

42:58

perfect in each and every way for for

43:01

that scene right I was gonna say I heard

43:04

a great story the other day about the

43:05

movie Red October and there's a scene in

43:08

the movie where the the submarines sunk

43:10

and it's kind of like a fan kind of

43:12

noise and just watch just that eerie

43:14

kind of the silence yeah the silent yeah

43:17

that's it and every time the sound guys

43:20

put the sound in the director would come

43:21

down and say no no and it went on and on

43:24

and on and it got to the point where the

43:27

guy who was doing the sound and went up

43:29

and sat on the roof and had a ciggy

43:30

while he was up there he heard the fans

43:33

on the rooftop air conditioning went

43:35

downstairs grabbed his recorder recorded

43:38

the fans on the air-conditioning unit on

43:40

the roof came back processed it threw it

43:42

back in as the directors leaving he said

43:44

can't come and check this out before you

43:46

go bang that was it that was the sound

43:48

they ended up using in the movie you

43:50

know it's also interesting about that

43:51

movie and I only know this because I

43:54

know the sound supervisor she's a very

43:56

very good friend of mine and I was very

43:59

lucky to meet her almost before I moved

44:02

to Los Angeles and around the time of

44:06

when I moved to Los Angeles was the 20th

44:08

anniversary it was like four or five

44:10

years after I moved here it was the 20th

44:12

anniversary of that film and the studio

44:16

which is paramount and the Academy the

44:19

Motion Picture Academy put on a

44:21

screening was only one screening of the

44:23

print and they restored the print and

44:25

they played it at the academy theater

44:27

here in Los Angeles and

44:28

when they were talking afterwards the

44:31

production sound mixer was there and he

44:33

told a story about how they gathered the

44:36

production sound on that film because

44:38

they did win an Oscar for this out and

44:41

someone said well how did you get the

44:43

you know such a good production sound

44:44

and his options were boom or plant mics

44:50

on most of the production he couldn't

44:52

use a boom because all the sets were

44:55

built it at the studio and they were all

44:57

submarine sets so they were all really

44:59

really short and you know small right so

45:03

he couldn't get a mic in over the top

45:04

and he could barely get a mic in under

45:05

the bottom so he ended up putting client

45:08

Mike's all the way through all the sets

45:10

and he would mix the track with these

45:13

plant mics well and he asked everyone in

45:16

the audience he said you know given the

45:18

perspective of wearing you know twenty

45:21

eleven right now whatever it was how

45:24

many tracks do you think came off that

45:26

set and the answer is one track of sound

45:30

yeah well so he nixed he mixed it live

45:34

to Nagre one track and they want an

45:37

Academy Award Wow isn't it so

45:39

mind-boggling I mean he has to had a

45:41

board there on you know and his cart and

45:43

just it was like orchestrating Lee

45:46

moving the faders as the actors moved

45:48

through the sadden he would have to know

45:53

the scripts better than any actor on the

45:54

set

45:55

yeah didn't know the script mr. blonde

46:01

they're probably not going to do seven

46:04

or eight takes until you get the mix

46:05

right yeah I'm guessing in production

46:16

really gets the opportunity for another

46:20

the camera yeah no you do if you don't

46:23

if you do you're in trouble put a shadow

46:27

in the frame it's like

46:30

it's the coldest shoulder on the planet

46:33

is that it's a tough feeling I can't

46:34

imagine I can't imagine uttering the

46:36

words I forgot to press record what

46:44

you're saying about yeah you're gonna

46:47

get the cold shoulder but you're gonna

46:48

get the cold shoulder from a hundred

46:49

people and there's only two or three of

46:51

you yeah that's right yeah that's right

46:54

but when they want to roll a duct tape

46:56

you got it on your card baby they love

46:58

you all of a sudden you gonna get the

47:02

cold shoulder from Sean Connery

47:06

individual yeah I can't imagine it'd

47:08

take too much well you know he's

47:11

licensed to kill after all Ryan the

47:13

disease he's not licensed to do a

47:15

Russian accent that's for sure I have a

47:19

I have a total geeky question insider

47:22

question I don't know how my inside of

47:24

this is but how often do you get to use

47:26

or how often do you choose to use the

47:29

Wilhelm scream explain if I listen as

47:39

though renze go I don't know when it was

47:42

first used but it looks 50s over 16 yeah

47:50

I guess in a diet was it was

47:53

blood-curdling these days it just comes

47:55

sounds kind of silly but been overused

47:58

I don't you I haven't actually used it

48:01

although I've worked on I've been at the

48:03

mix console when other supervisors have

48:05

brought it to the stage and put it up in

48:07

the tracks and we all have a chuckle

48:10

about it of course right I don't make it

48:13

part of my bag of tricks and the other

48:17

one that's I don't know the name of it

48:20

but there is a passing semi truck horn

48:23

sound the Doppler Hall yes that thing

48:28

Oh God hundreds of times I think yeah

48:33

and every time you go to a watch

48:39

yeah and every time a bad guy advances

48:44

on a protagonist in a film you know you

48:46

hear a gun I love it when the same

48:54

one who's doing the sound has no idea

48:56

about cars and you'll have a car in shot

48:59

and the sound you know if you know that

49:01

car is not the sound of that car yeah if

49:05

the car really sounds like in the sound

49:08

of pictures like more ballsy could even

49:17

go back to your story about the Hunt for

49:19

Red October though 2ap and sort of say

49:21

well hang on it's the submarines going

49:23

into a silent drive why do we need a

49:26

sound but you know again that's

49:28

Hollywood you've got to have something

49:29

there I'd say the one thing I don't know

49:31

work then this would be interesting cuz

49:32

David wanted to ask you this David

49:34

because I'm sure you've seen the movie

49:35

but this movie has very little dialogue

49:38

but the sound to me was amazing

49:41

have you seen Dunkirk oh and woody were

49:44

had here eyes out oh my god it was mixed

49:47

about 500 feet from where I'm sitting

49:49

right now Oh are they and yeah what were

49:55

you gonna ask me about it or yeah yeah

49:58

yeah how do you how do you write it

50:00

um it's a certain type of track and in

50:04

that filmmaker has been going down that

50:06

route for a number of years I'm not sure

50:11

that it's my taste in soundtrack but

50:14

having said that I can absolutely

50:16

appreciate the skill that it takes to

50:19

get a track like that I mean they're an

50:21

amazing crew Richard King is amazing and

50:24

Kerry Rizzo and the guys who makes those

50:26

tracks they're amazed I mean they're

50:28

just amazing and to be able to put a

50:30

track together like that I mean Chris

50:33

Nolan is a very very powerful force you

50:36

know and and you have to be to be a

50:38

director like that and to be at that

50:40

sort of playing at that level so you

50:43

know a lot of it comes to be able to

50:45

create a track like that you need a

50:47

filmmaker like Chris Nolan or a Michael

50:50

Mann because it is an unusual track

50:53

yeah and and there are people who in the

50:57

studio world may give you some

50:59

resistance about how to how to you know

51:02

about whether you can print that track

51:04

and it takes a filmmaker like a

51:06

crystalline or a Michael Mann someone

51:09

like that to say no this is the way this

51:11

is the direction we're going and this

51:12

hope you know so more power to them to

51:15

be able to create a track like that's

51:17

extraordinary track yeah and the

51:19

handsomer I mean he did the music from

51:21

memory and I just found the whole thing

51:23

did for the blue suspenseful and a

51:25

handsome is soundtrack or with music was

51:27

amazing Hollywood legend for about three

51:34

decades now indeed yeah speaking of

51:37

soundtracks do you ever find yourself

51:38

having an occasion to go over to the

51:42

Eastwood scoring stage it's in the next

51:46

building over where I'm sitting right

51:48

now I pass that every day I've been in

51:51

there a couple of times it's not my

51:53

domain it's not somewhere I get to play

51:57

around in it's one of the things though

51:59

that I loved that one of others has a

52:02

scoring stage and continues to maintain

52:04

it because and and continues to you know

52:08

pay for it and you know make it

52:10

available to filmmakers because scoring

52:13

stages have disappeared from LA

52:17

you know the tide Vittorio scoring stage

52:19

in in Studio City you know that was John

52:23

Williams favorite I heard for a long

52:25

time and they call that room down not

52:28

ten years ago and you know Fox and still

52:32

got a stage Sony's got one obviously you

52:35

know and Warner Brothers does Universal

52:37

doesn't have a scoring stage anymore

52:39

paramount doesn't have a scoring stage

52:41

anymore they took theirs down about 12

52:43

years ago so it's you ask about that

52:47

stage it's just great that they have won

52:48

here and that they continue to have it I

52:51

only mentioned it selfishly because I've

52:54

been very fortunate enough to see it and

52:56

sit in the room in the scoring room

52:58

during the recording of something one

53:01

time

53:02

and it was unbelievable I mean just from

53:06

a studio design perspective the noise

53:08

floor it's so quiet the moment the

53:11

conductor lifts the baton and he does

53:13

the downbeat it's absolutely dead silent

53:17

and there's a hundred people sitting in

53:19

there it's just incredible just an

53:21

amazing experience well you're one up on

53:23

me I've never I've never been in there

53:25

one has been musicians playing that

53:28

must've been amazing that was very lucky

53:30

I was I happen to be with Don LaFontaine

53:31

who somehow got a piece of music

53:35

recorded there so his wife Nita could

53:39

sing this piece with the orchestra

53:41

because I guess Don could do that kind

53:43

of thing and it was it was remarkable it

53:47

was really remarkable is so lucky to be

53:48

there don't can do whatever he wants I

53:50

would have thought yeah hey Yankee I

53:53

just want to go back on something you

53:54

said a second ago that I'm interested to

53:55

to sort of follow up the you were

53:58

talking about how I'm directors seemed

54:00

or directors have a signature sound not

54:03

just for one movie but sort of a

54:05

direction an audio direction they follow

54:07

in in a bunch of movies is that what you

54:09

were saying well it's not a signature

54:12

sound so much it's just a style of

54:13

filmmaking and I started derivative of

54:17

that is the style of the soundtrack

54:19

although in Nolan's case and some you

54:23

know great filmmakers their sound

54:24

impacts their film and their picture and

54:27

their everything else as much as those

54:29

things impact sound but he you know if

54:33

you'd listened to the last sort of six

54:35

films that he's done really after the

54:38

second Batman picture he did there's

54:41

been a definite sort of this is the

54:43

direction I'm going with my sound and

54:45

the integration of those two things and

54:48

the balance of those two you know sound

54:51

effects music and dialogue the balance

54:53

of those things he's definitely chosen a

54:55

path with that which you know some

54:57

people here and around the world I'm

55:00

sure have have sort of not agreed with

55:02

it but it's just the way he chooses to

55:06

make his films and in the case of

55:07

Dunkirk in particular I think it was it

55:11

was just animate to go you know

55:15

so what sort of things might that entail

55:17

is that a certain way that you treat

55:20

sound effect or you treat dialogue or or

55:22

you know in a bit finer detail without

55:25

getting too technical what sort of

55:26

things would would he be looking at um

55:28

there's certain things that he's done

55:32

which you know Hollywood has a there's a

55:35

star here which is in it you know it

55:38

starts from the script and so you're

55:40

your number one thing when you're

55:42

working on a film for the most part

55:45

you're always gonna want to hear the

55:47

dialogue and at a filmmakers risk

55:50

well they ignore that rule or at a

55:53

filmmaker you know they're going to have

55:54

they're going to get some pushback from

55:55

someone if if someone in the process of

55:59

finishing the film says I can't hear

56:01

those lines and he has got got close to

56:05

the threshold of acceptance and possibly

56:08

over that threshold do you guys remember

56:11

there was a character in one of the

56:12

Batman films called Bane made by care

56:15

buying a play by character named Tom

56:17

Hardy the echoes man Tom Hardy do you

56:20

guys remember that yeah yes definitely

56:22

sorry that name popped in the head when

56:24

you mention that beam yeah right he has

56:27

a mask on his head and his dialogue was

56:29

was quite difficult to hear in some of

56:32

the mixing and the pre dubs I remember

56:34

there was some back-and-forth and I

56:37

wasn't at Warner Brothers at the time

56:38

but I remember hearing about it in the

56:40

community that there was Connor and they

56:42

might have it being press about it you

56:44

know back and forth between the studio

56:45

and the filmmakers about well we can't

56:47

hear him we want to hear him do we avoid

56:49

him do we you know get him in that you

56:52

know if he men to do some more how do we

56:54

change that do we use the production

56:56

track do we not you know there's a lot

56:58

of back and forth about that and he was

57:01

he wanted to push the boundaries of that

57:03

and and push that sort of Hollywood

57:06

style of you know what you don't have to

57:08

hear every line so that's one of the

57:10

things that he has chosen to do and he

57:13

does that you know he did that with the

57:14

at least I heard he did it with

57:17

interstellar there was some once again

57:19

some press and some stuff in the in the

57:22

film community here in LA about how the

57:25

music might be too loud in interstellar

57:27

and people sort of saying

57:29

it was and some people saying it wasn't

57:31

and all that sort of thing

57:32

that's just derivative again if him

57:35

wanting to push those boundaries and say

57:36

I'm going in a different direction this

57:38

is this is not I'm not gonna make that

57:41

so I'm gonna make this film this is the

57:43

choice I choose to make it's funny thank

57:45

you for encapsulating that really helps

57:47

to understand that I was gonna say

57:48

though that was my takeaway from

57:49

interstellar was I actually came out of

57:51

a theater joint that music was loud I

57:55

want to know what you you've worked on I

57:58

mean the elephant story is fantastic so

58:00

it's clearly something that you're proud

58:02

of but what's another great example of

58:04

something you've had a lot of your

58:05

fingers all over that we should check

58:08

out I don't know that depends on what

58:14

sort of songs you you want you can look

58:15

at my IMDB make it easy for you mate

58:19

I've got one of your old promos on a DAT

58:21

here at the back of the studio you want

58:23

have y'all triple in promos I'll just

58:24

drag that out we'll play anymore storage

58:34

somewhere I'm in the same boat I got a

58:36

whole I got a whole bunch of debt

58:37

sitting in the back of the room that I

58:38

haven't touched in probably 15 years so

58:41

be interesting to see if they go in the

58:42

debt player or not I've heard the dads

58:44

don't last that long actually I probably

58:47

don't yeah yeah well yes microwaving

58:51

well that's all we used to do with the

58:53

reel-to-reel

58:54

absolutely seconds one run

58:57

that's it dub yeah get it or lose like

59:00

there's a couple films that I've worked

59:02

on that you know I mean I've worked on a

59:04

lot of like the elephant film the

59:05

documentary I don't think they've been

59:07

released worldwide it's certainly played

59:10

you know the president he President

59:12

Obama saw it and made some changes I

59:15

think based on that and a lot of other

59:17

input he was getting at the time to

59:19

import of illegal ivory into this

59:22

country you know that documentaries

59:25

played for a lot of world leaders and at

59:28

the UN and various other places because

59:30

the filmmakers a journalist and she

59:32

really she made the film to affect

59:34

change she didn't make the film to make

59:36

you know to have a big audience so I'm

59:40

proud of that film because of what it

59:43

means and

59:43

I'm also proud of it because of the

59:45

collaboration and the fact that from an

59:47

experience I got to go and you know work

59:50

with five African elephants for a day

59:52

and walk under them and record them an

59:56

incredible experience I've worked on

59:59

some films that would have been released

60:01

in Australia that I think are really

60:04

good tracks but I wasn't necessarily the

60:06

lead sound guy on them I worked on a

60:09

film called unbroken which was actually

60:12

filmed in Australia and there to really

60:16

receive Lina yeah yeah I can't say I've

60:19

but George is saying he has yeah Wow I

60:22

liked it a lot because it was only made

60:26

a couple of years ago and it was made

60:28

for a reasonable-sized studio budget but

60:32

it's not a film about men in tights and

60:36

I was just thankful to be on a

60:39

production that was to me the sort of

60:42

epitome of a big Hollywood blockbuster

60:45

without being about superheroes you know

60:49

kind of a classic canvas for a large

60:51

picture and I think the sound on that

60:55

film is great not because I was involved

60:57

I was only a small part of it but um but

61:00

it's a great track because the director

61:02

shows and the picture editors and

61:04

everyone else they chose not to have a

61:06

lot of score in the film which to me

61:09

opens it up a lot more for opportunities

61:11

to sound to help tell the story and it's

61:14

also the sort of story where you

61:15

wouldn't want a lot of score so it's a

61:18

really great sound picture I know I

61:21

worked on a picture called Patriots Day

61:23

a couple of about 18 months ago which is

61:26

about the Boston Marathon bombing here

61:27

in in the States

61:29

it's it's got like it's got a really

61:32

good cast and it's a really great i-ight

61:36

when you often when you work on a film

61:38

particularly a bigger production as a

61:40

sound person you don't get to see it in

61:42

its entirety if you're part of the

61:44

editorial and editorial crew it's just

61:47

the way it comes together and also with

61:50

a picture like that with that filmmaker

61:53

you know you guys are probably a little

61:55

more used to a linear

61:57

action workflow in other words you have

62:00

a script and you have everything kind of

62:02

like Robbo when you're doing an advert

62:04

of a TV advertisement they generally

62:06

give you a lock cut right yeah that's it

62:08

right well that doesn't happen in

62:10

filmmaking anymore yeah on that on

62:14

Patriot's Day we had 11 reels of film so

62:17

eleven two thousand four hundred and

62:20

forty minutes of film and we were

62:23

getting two new cuts on each reel every

62:27

day for months

62:28

well Wow and we were already in pre dubs

62:32

and finals so we were conforming twice a

62:35

day to every real upwards of three four

62:39

thousand tracks of sound every day all

62:42

day long so when you're in that

62:45

environment you don't often get to see

62:47

the picture you know play out

62:50

and so that film I was surprised at how

62:53

much I enjoyed watching it you know six

62:55

or eight months after it was released I

62:57

sat down no I watched it and I was like

63:00

oh actually is it actually really good -

63:02

yeah yeah do you think that's happening

63:05

because technology allows that to happen

63:08

and so since the technology allows it to

63:11

happen they're more prone to do it

63:12

that's absolutely one of the factors

63:14

yeah people you know produce you know

63:17

producers studio executives you know

63:20

anyone who's in part of the

63:21

decision-making process they know that

63:23

we have all these great tools and we can

63:25

do you know really amazing things with

63:28

them and the fact that you you can only

63:32

cut a 35 mil print once you know and no

63:35

one's working in 35 mil anymore so these

63:38

days you can make as many cuts as you

63:39

want and you can just keep cutting you

63:42

know and yeah and there's absolutely for

63:46

filmmakers that make the choices and

63:48

executives no one else to make the

63:50

choice to not make decisions that is an

63:53

option that they can now do you know

63:56

yeah it's funny I was talking with

63:58

Richard lush who lives in Sydney now

64:00

he's one of the Beatles engineers he

64:02

moved here back in the early 70s to set

64:04

up EMI Sydney and we were talking to him

64:07

a couple of years back and just going

64:10

through a few things and he talked

64:11

about commitment and he mentioned

64:13

working on the soundtrack for the Sydney

64:15

Olympics in 2000 and because he was in

64:18

recording with the engineer using

64:20

ProTools and one of the questions was do

64:23

you want to do another take on that yep

64:25

we're doing it to go give me another

64:26

take so did another take and then the

64:28

engineer turn around and said do you

64:30

want me to keep the other one and he

64:31

said well if I wanted you to keep the

64:32

other one I wouldn't have asked for a

64:34

new one it's all about commitment cuz

64:38

you just end up in the end with like 35

64:40

types of everything and you don't even

64:42

know you just you lost completely lost

64:44

that's all I think that's an issue you

64:46

finding you finding that David that

64:48

that's an issue of people not willing to

64:49

commit oh yeah but it's only an issue if

64:53

the production chooses to make it an

64:55

issue in other words as soon as you

64:58

change the scope like let's say an

65:01

advertiser comes to you robber and says

65:03

here's our ad you know we're gonna give

65:05

you I don't know whatever it cost for

65:07

you to work on an advertisement and and

65:11

then you you do the work and maybe it

65:13

takes a day or two or whatever and then

65:15

they come to you and they go okay well

65:18

here's another cut we want you to do all

65:20

that work again but do it on another cut

65:22

well now of course you're putting more

65:24

time into the production and if they

65:26

don't also come to you and say well we

65:28

should give you more money because

65:29

you're going to spend more time on it

65:30

then that becomes an issue right you got

65:33

to pay the rents like everyone else

65:35

so you know film is the same if if they

65:38

you know like on the on the Patriots Day

65:42

film so I don't know what the sound

65:44

budget was it was hundreds and hundreds

65:46

and hundreds of thousands of dollars

65:47

probably a couple million dollars and

65:49

you know they just had to keep spending

65:52

money because their filmmaker and their

65:53

picture editor and you know the director

65:56

they kept making changes to the cut now

65:59

that's only a problem if they then say

66:01

we're not going to spend any more money

66:02

because then you're like okay well I

66:05

guess just in the tracks to the states

66:07

that are out of sync and you'll have to

66:09

figure it out there but usually what

66:12

happens is you know someone's gonna be

66:14

pretty unhappy in that situation I don't

66:17

know how much more time yeah but I

66:19

to get one more and this might be a

66:20

quickie but I see you do a lot of

66:22

television what is the real difference

66:26

these days now in what you do between

66:29

working for television versus for a

66:31

future I don't really approach it any

66:35

differently it's still storytelling with

66:38

sound happened it's still the same I

66:41

mean obviously the budgets are a little

66:43

different and the schedules are very

66:44

different you know budget is budget and

66:47

you know the creative resources that

66:49

come out of that are affected by those

66:51

two things as in as they are in every

66:54

every job in the world

66:55

so you know TV here in America has done

67:00

certain way and it's very difficult to

67:03

get them to change that way of doing it

67:07

but within that way of doing at their

67:09

structure and reliability and

67:11

consistency which is sometimes a welcome

67:15

change from features because features

67:18

are absolutely derivative of the

67:21

filmmakers personality to an extent and

67:24

if they are a personality that wants to

67:26

keep cutting their film right up to the

67:28

print master then that's going to sort

67:31

of create a certain environment and the

67:34

budget and the number of people involved

67:37

and the amount of time you spend on it

67:39

is is going to change as a result

67:41

whereas television they don't really do

67:45

that although in the last couple of

67:46

years even that has changed you know the

67:50

consistency of television because with

67:52

these Netflix shows you know shows you

67:56

could have been delivered to networking

67:57

networks type networks you know you guys

68:01

probably seen this when you turn on

68:03

Netflix and you go to watch you know a

68:05

Netflix series you can watch the entire

68:08

series in one sitting if you want oh

68:11

yeah I know yeah it's not like it's not

68:14

like regular television ways you know

68:16

episode 1 this week in episode 2 will be

68:19

available next week and so as a result

68:23

like I did a series for Amazon a couple

68:26

of years ago which is a similar to a

68:27

Netflix delivery they deliver as in the

68:30

production delivers to the

68:32

giulio and subsequently the studio - the

68:34

network they deliver the entire series

68:36

on one day so right so you can imagine

68:40

is like an eight-hour movie right so

68:48

you're delivering instead of one hour

68:49

every week you're delivering ten hours

68:52

in one day or in one week now

68:55

usually a smart production will try and

68:58

schedule that so that they are turning

69:00

out one hour every week but going back

69:03

to your question earlier guys if if no

69:06

one makes a decision you could have ten

69:09

unlocked episodes three days from

69:12

delivery yeah like that right yeah so

69:17

that just think differences is schedule

69:19

and you know the way they structure

69:22

their productions do you think because

69:24

the budgets over the years have got

69:26

bigger and there's two different genres

69:29

now it's independent films and there's

69:30

you know big production studio films do

69:34

you find there's more fear involved in

69:37

the big studios I'm not sure if I'm

69:43

really qualified to answer that question

69:45

I mean I you know like the head of a

69:47

studio would be someone who could answer

69:49

that maybe and someone with a sort of a

69:51

perspective on it on the history of

69:53

filmmaking hi I think what is important

69:57

this is just me being the guy that reads

69:59

a lot of stuff about you know like when

70:02

I worked in radio one of the reasons I

70:04

left radio and chose to go and do

70:05

something else well the main reason was

70:07

I wanted to challenge myself creatively

70:09

the number two of maybe the third reason

70:12

why was I had been reading a lot of you

70:15

know the Financial Times and and I read

70:18

a lot of different perspectives on

70:21

business and the marketplace

70:23

and I could see that the radio

70:26

advertising the pie was getting called

70:28

the radio section of the advertising pie

70:31

was getting smaller even in the short

70:33

you know eight nine years that I work in

70:35

radio every time they put up that that

70:38

pie chart which showed you know print

70:40

television newspapers outdoor radio is

70:43

getting smaller every

70:45

here and I was like well this can't be

70:46

good for my job one day they're going to

70:49

get rid of my job because no one's going

70:51

to want to pay for it

70:52

you know yeah right radios radios it's a

70:55

broadcasting medium it's not a creative

70:58

sound medium at least that's not the

71:01

core business you know as part of the

71:03

business you deliver creative sound but

71:05

it's not the business you're in the

71:07

business you're in is selling media time

71:09

or air time so if your air time budget

71:12

is reducing then obviously everything

71:13

else in the station's going to get

71:14

reduced as well because they can't

71:16

handle the overhead so when you look at

71:19

major studios and films it's kind of the

71:22

same thing in addition to you know we've

71:26

had massive market consolidation with

71:27

radio station ownership not only in

71:29

Australia but around the world it's the

71:31

same thing with major studios

71:32

I mean Disney is just about to buy Fox

71:35

who would have thought that would happen

71:37

but it looks like it might happen you

71:39

know so when you look at the

71:43

consolidation of major movie studios the

71:46

only thing that drives that is the

71:50

ability for the marketplace to be able

71:52

to capitalize it and the only market

71:53

place that can capitalize those sort of

71:55

takeovers is the stock market and what

71:57

if the stock market want they want 12 15

72:01

13 percent year-over-year growth you

72:04

don't get that kind of consistent growth

72:07

out of the movie business it's a very

72:09

very up-and-down you know hot and cold

72:11

business one of the ways that the

72:14

studio's choose to minimize their risk

72:16

is by making movies that are derivative

72:19

or sequels of movies they've already

72:21

made before because when they put the

72:23

business model for a movie together they

72:24

say okay you know Batman one made one

72:27

hundred million dollars say well Batman

72:30

2 if even if we make it with you know 30

72:33

50 percent of the production value we're

72:36

still going to get 70% of that audience

72:37

so we can guarantee ourselves seventy

72:39

million dollars return based on 100

72:42

million we made last time so we know

72:44

roughly so there's a reasonably

72:46

consistent business model versus an

72:48

inconsistent business model which is a

72:50

risky movie with a script that and

72:53

characters and story that the audience

72:55

is never seen before and it's quite

72:57

unusual that's a very

72:58

business for a major movie studio sir

73:01

yeah

73:01

Maya in my humble opinion I think the

73:04

thing that drives the big movies and

73:07

they're sort of consistent theme if you

73:09

like or whatever however you phrased it

73:12

it's more who owns the studio's and what

73:16

does that mean for their business and

73:18

how does you know what ROI are those

73:21

equity investors looking for so we're

73:24

basically saying thank goodness that

73:25

George Lucas didn't try and pitch Star

73:27

Wars in 2018 right yeah yeah I know the

73:33

studio that would timing Star Wars was a

73:35

hard movie to make it was incredibly

73:38

difficult and groundbreaking it was

73:41

groundbreaking but it was also really

73:43

really hard for him he it took him a

73:45

long time to make that picture and it

73:49

was a very difficult picture to make and

73:51

I think there were some executives of

73:52

Fox that really took a risk on him as a

73:56

filmmaker and obviously paid off for

73:58

them and paid off for him to be time

74:02

that was 1975 when they dream let that

74:05

film but even back then it was a risky

74:10

yeah oh yeah absolutely but that was I

74:13

mean he basically sold sold his soul to

74:16

the devil to get it through in the first

74:17

place right I know I know he he did a

74:21

good deal on the merchandise that was

74:25

the deal don't pay me to make the movie

74:27

but I want the merchandise rights I

74:29

could be wrong on that something like

74:30

that yeah that's what I seem to remember

74:32

reading yeah but it's the same with

74:35

music though I mean music in the 60s

74:37

through the 70s probably into the 80s

74:40

and maybe early 90s the overhead

74:42

companies were happy to invest that you

74:44

know the first album may not fire the

74:45

second one may not go third one may not

74:47

but the fourth one could hmm and they

74:50

would invest in the future they wouldn't

74:52

just invest in that you know one single

74:54

on Spotify which is basically it now

74:56

yeah that's right well look at John

74:58

Mellencamp we wouldn't have John

74:59

Mellencamp if it wasn't for um what was

75:01

his second record company that picked

75:03

him up can I remember all others

75:05

was it one us yeah whoever it was I mean

75:06

he will CBS had him in the end but yeah

75:08

he was written off basically

75:11

yeah yeah CVS and they also Springsteen

75:14

he was another one that was you know if

75:17

the record companies to ditched him on

75:18

the first two albums I would have been

75:19

it hmm absolutely

75:21

now listen see we can't let you go we

75:23

can't wrapped up this interview without

75:24

getting a bit geeky here talk us through

75:27

talk us through your favorite gear your

75:30

favorite favorite plugins yeah maybe

75:32

some favorite workflows if you've got

75:34

any or just give us some geek gear you

75:37

know I'm actually I had some really cool

75:40

geeky stuff which I just I literally

75:43

sold it all about a year ago you know I

75:46

had outboard rack that I would bring two

75:49

duds and bring two mixes but really in

75:51

the last five years a lot of it's a lot

75:54

of the the technology in the box has

75:56

gotten a lot better I mean I've been

75:57

mixing in the box for a long time not as

76:00

long as some but but a long time and you

76:04

know I don't have it number one I kind

76:07

of don't like audio guys saying hey this

76:09

tool is really good this plug-in is

76:10

really cool because then everyone goes

76:12

and uses it and then thinks that they

76:13

can get the sound yes may or may not

76:16

yeah you know being well known for and I

76:19

don't think you know that the number one

76:22

thing is always your ears and second to

76:26

that or maybe primary to that is the

76:28

monitoring environment I was down in

76:30

Perth at the end of last year and I did

76:33

a talk for the Australian screen sound

76:35

guild and someone asked me roughly the

76:37

same question although it was quantified

76:39

in terms of what's your favorite film

76:41

mixing console my response was and it's

76:44

the same for plugins and it's the same

76:46

for I mean I have to work in Pro Tools

76:49

because the entire industries on it now

76:51

but but in terms of like consoles and

76:55

plugins and also stuff you know I don't

76:58

have a religion in terms of those things

77:00

to me the most important thing is with

77:03

what room am I going to be in when I'm

77:05

making decisions with my director I have

77:07

my favorite rooms at every studio here

77:10

and I will only work in those rooms at

77:13

those studios and because I can rather

77:17

you're saying yeah I can trust the

77:19

translation of those rooms to a

77:21

theatrical environment or to a home

77:23

environment

77:24

so let me take I did that that's an

77:26

exact inverse or the the mirror image of

77:29

what I tell all the voice actors you

77:32

know when they say what's the mic and

77:34

I'm like there's a mic get the room

77:37

right you know it's the exact it's the

77:40

same thing the room has to be right and

77:42

the voice to go to go with the room and

77:44

then I'm just performing to number one

77:47

in the in the in the the room or the

77:51

environment is secondary but number one

77:53

is performance if you can't get the

77:54

right performance then good luck tracks

77:56

I mean you'll never get the sound right

77:57

you'll never get it to sound good enough

77:59

for the client if the performance

78:01

doesn't work well your poly sense heard

78:03

is that what you're saying raisi

78:04

[Laughter]

78:08

that that two weeks of ADR down in

78:11

jakarta and we're working some pretty

78:12

kind of not-so-great ADR facilities cuz

78:16

chica jakarta is not a big filmmaking

78:18

community and yet we got really really

78:20

good performances and as a result the

78:24

filmmaker loved everything that happened

78:26

in his track you know once we go back to

78:28

LA and mixed it and you know there was a

78:30

little bit of oh gee this isn't a

78:33

beautiful recording but that didn't

78:34

matter the performance was there it's

78:36

funny I heard it quote from a recording

78:38

engineer and the question was asked

78:41

again what's you know what you fight

78:42

what what do you use you know what

78:44

microphones do you use what preamps do

78:46

you use what desk views and he said I

78:48

use whatever's there yeah that the truth

78:51

yeah I'm kind of I've worked on Harrison

78:55

you phonics obviously avid I did makes

79:00

no difference to me

79:01

I did I did a re-recording course at

79:04

afters here well Jesus back when there

79:08

was first to end when you did that yeah

79:10

and and they had a beautiful old

79:11

Harrison 12 in the in the room and man I

79:14

mean I you know I haven't worked on a

79:16

lot of big consoles like that probably

79:18

one or two but wow that was a sweet ride

79:20

that's for sure yeah yeah we got the

79:22

forgotten EQ that's a great River EQ in

79:26

it yeah that's right and speaking of

79:28

which I remember you used to have a

79:30

pultec EQ do you still add that no I

79:33

sold out when I left Australia

79:35

you fool yeah it was beautiful eyes just

79:40

just to fill you in ice to freelance

79:41

when rains he had his business I

79:43

I quit radio not long after rains he and

79:45

he used to get me into come and do some

79:46

work for him at night and man I used to

79:49

love that thing that was gorgeous

79:52

my head like I said I had up until

79:55

recently in my dialogue chain here and

79:58

some hardware a hardware rack with you

80:00

know some needs I had like six Neve

80:03

units and just some really cool

80:07

expensive it was like a fifty thousand

80:09

dollar rack and one of the things that

80:12

made me change is working in Atmos you

80:15

can't be locked to a dialog chain that's

80:19

limited in the number of channels which

80:21

surely a expensive rack will limit you

80:25

when you're mixing in at most and if you

80:28

guys know what that noise is

80:30

that's the Dolby nine twelve channel

80:33

surround system is a delivery it's a

80:38

delivery medium but also a number of

80:42

channels in Mendota Commons but

80:43

basically it's up to 128 channels of

80:46

sound as opposed to traditional film or

80:49

traditional in the last 15 20 years as

80:52

being either 5.1 or 7.1 sound there's

80:57

many many more channels and a great

80:59

example of an at mas mix and what people

81:01

do with them is the movie gravity that

81:03

film had you know had dialogue coming

81:06

off the screen and going around behind

81:08

you if you don't have a dialogue chain

81:12

that is able to be multiplied many times

81:14

over then you can't do that kind of

81:17

movement with a soundtrack try doing

81:20

that on a panel so I've mentioned the

81:26

Harrison 12 I I picture that I don't

81:29

know if I've ever seen one but isn't

81:30

that one of those quite large format

81:32

yeah consoles that are in the remix yeah

81:34

that's right say the course I was

81:36

talking about was a remix in course at

81:38

the and afters is the Australian film

81:40

television and radio school and I took

81:42

myself off to do that

81:45

mostly because I wanted to learn about

81:47

surround sound and this

81:48

Jesus late 90s people just when they

81:50

were talking about you know

81:52

surround-sound starting to hit TV and

81:53

all that sort of stuff so that's that's

81:55

why I took myself off to do that course

81:56

but yeah they had this beautiful big old

81:58

Harrison 12 and the mixing stage that

82:00

the film television and radio school was

82:02

a pleasure to work with that's for sure

82:03

where do you like to go see a film

82:05

because you like the way the speaking of

82:07

rooms other than playing a back of film

82:09

in your favorite room at Warner Brothers

82:11

where do you like to go in LA where you

82:13

really like the sound in the theatre

82:15

when I'm in LA I my wife and I are to go

82:18

if when we go out to a film we are to go

82:21

to a screening at the studio's because

82:23

we know they've all all their rooms if

82:25

they're doing a screening have been you

82:27

know proper their projection is is

82:29

correct of course if not then our second

82:34

choice is the ArcLight

82:35

because once again they generally have

82:37

projection pretty well sorted out but

82:41

lightly we just finished building a

82:43

little home theater slash sound design

82:46

room in our house we've got a sacred

82:49

structure at the back of our property

82:51

and I we put our little home theater

82:53

thing in there so lightly we'd be

82:54

watching films in there because it just

82:55

you know I did all the acoustic design

82:57

on that and it's it's close enough

82:59

and it's certainly better than the most

83:01

kind of home environments so it's

83:03

lightly been good enough for us

83:06

this is why movie theatres ladies and

83:08

gentlemen have to have giant reclining

83:10

electric seats and all sorts of other

83:12

gimmicks trying to get you to show up

83:14

because we're building these home

83:16

theaters that sound and look the

83:18

sounding and look incredible and that's

83:21

why he sent me a photo studio you should

83:23

say it's very nice in fact I might throw

83:25

it up in the show notes if that's okay

83:26

with you rain Z ah just give us the

83:28

address David Bowie around there like

83:32

three blocks and Warner Brothers I'm

83:35

lucky I get to walk good thing about

83:38

watching films though at home there's

83:40

some films you don't want to watch it

83:42

hug like like a comedy is far more you

83:46

know like a movie like The Hangover it's

83:48

far more enjoyable watching in a movie

83:50

oh yeah environment audience because

83:52

part of that process of enjoying the

83:56

picture is is hearing other people enjoy

83:58

the picture absolutely oh yeah

84:00

I first comedy I remember seeing the

84:02

theater where it really was like oh my

84:04

gosh listen to the audience was there's

84:06

there's something about Mary

84:07

yes out there movie I mean they really

84:11

pushed boundaries of taste and

84:13

everything and the audience like Ajay

84:15

drowned out the dialog like a third of

84:17

the movie have you guys seen a film

84:21

called two hands yes

84:23

no that's a great time

84:26

it's Heath Ledger before Heath Ledger

84:28

was a big Hollywood guy oh yes yes yes

84:35

[Music]

84:38

it's very black comedy and watch I

84:41

watched that film

84:42

I must mean five times in the cinema

84:44

probably because it's a great film and

84:46

also because watching it with an

84:47

audience it's just great yeah George

84:50

jump online and find it and and have a

84:51

look it's an awesome movie yeah yeah

84:53

Brian I am looking Ryan Brown plays that

84:56

perfect gangster yes Bergen gangsters

84:59

great right Brian basically plays black

85:01

Brian Brown he's um that's his signature

85:03

role I reckon dear you know even Netflix

85:10

online auto plays with audio aid website

85:14

yeah and a guy that you guys know Rick

85:19

Carter is in that picture and Rick he's

85:22

a great voiceover guy yeah there's a few

85:24

people pop up in that there's another

85:25

great film actually in that sort of

85:26

genre that was done here in Australia

85:28

and that was getting squared and they've

85:31

yeah they that's great there's a there's

85:34

a great scene it's Richard Roxburgh

85:37

plays this sort of heroin addicts and

85:40

there's the best scene of him it he's

85:43

running down the street in that you know

85:44

he's got the tight foot he shorts on and

85:46

would you would call flip-flops George

85:48

we call them thongs and they seem being

85:51

chased in a pair of thongs running down

85:54

the street and the sound of someone

85:56

running in thongs is so unique and it's

85:58

fantastic you got to see it well listen

86:03

Rosie this has been awesome I thank you

86:04

so much for your time we've probably

86:05

held you up way more way longer than you

86:07

thought we would but um it's been

86:09

awesome to talk to you thanks for your

86:10

time

86:10

no worries guys it's been fun thank you

86:13

if

86:13

I had a case of career Envy that's mine

86:16

yep yes I can understand that

86:20

absolutely the guy to hang out it with

86:22

at some point for sure

86:24

yes George stay you've got your I've got

86:27

your chance a nice guy to show the way

86:29

not just a shot away

86:31

get me shelter yeah yeah no I'd love to

86:35

do that job any day of the week

86:37

yeah but the trouble is if you

86:38

disappeared for two days mmm let's write

86:41

it down a rabbit hole yeah you'd never

86:44

emerge you know be gone gone for good

86:47

what's said in blood in in the hangover

86:50

what is Bangkok's got him it's in that

86:52

case it's Hollywood's got him yes that's

86:54

right yeah well there you go they goes

86:58

another show hopefully we've been

87:00

slightly informative hopefully something

87:03

in there somewhere surely for someone

87:05

yeah I'm still I'm still amazed about

87:08

Red October yes how they the audio when

87:11

they had to do it or plant all the

87:12

microphones that is insane he's crazy

87:15

fly live mixing a movie of that standing

87:18

that's crazy

87:19

yeah just one mistake they'll take you

87:21

outside and shoot you no pressure no

87:24

pressure and let's face it Sean Connery

87:27

is licensed to kill so you know and and

87:31

licensed to wear a week and have a

87:32

really bad Russian accent ooh Polaski

87:38

yeah so there you go Oh what what so

87:42

Ames I'm sorry come on

87:44

it's definite I'm sure you're just

87:45

trying to end the dang show and I have

87:47

to add something but I was a moment to

87:51

to as I was reading recording hacks

87:55

earlier up popped an ad and I clicked on

87:58

it and it's for antelope audio tying up

88:01

the the emulating microphone thing or

88:04

modeling mic they have their own it's

88:05

called the edge and it seems to go with

88:09

that same sphere audio design where it's

88:11

got stereo output it has to capsule

88:14

output uses a five pin XLR and then goes

88:19

on out and goes into their own system

88:23

and beyond that I don't know anything

88:25

about it because I just discovered it

88:26

but as you can

88:27

see that this is becoming a trend in mic

88:30

design and I'm sure gonna see a lot more

88:32

of this in the next year right right uh

88:36

time to put the microphones back in

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