Category Archives: Audio

Sound Lounge offers remote audio post between NYC, Boston

New York City-based Sound Lounge is now providing remote audio post and sound mixing services for clients based in Boston. Sound Lounge Everywhere was established to provide clients with the comforts of a mixing studio and seamless remote connection to Sound Lounge artists — along with video and audio for realtime sessions, all using premiere technology.

In creating this service, Sound Lounge partnered with Boston-based creative editorial company Editbar, who will manage the Sound Lounge Everywhere technology. Custom hardware allows Sound Lounge to stream high-quality audio and video from New York to Boston with virtually zero latency, meaning that clients can view their spots live while their talent records in the New York office. The technology also allows clients to speak face-to-face with their sound mixers to ensure their sessions are both efficient and effective.

“We believe that geography is now an opportunity rather than a boundary, and we’re excited to work with new brands and agencies in this unique fashion,” says Sound Lounge partner, COO and sound designer Marshall Grupp.

Sound Lounge and Editbar (pictured above) are also joining forces with creative studio Nice Shoes, who are in the same space as Sound Lounge, to offer sound, color and creative editorial all underneath one roof.

While Sound Lounge Everywhere is currently only being offered between New York and Boston, the studio expects to offer these services in other cities in the near future.

Netflix's Stranger Things

AES LA Section & SMPTE Hollywood: Stranger Things sound

By Mel Lambert

The most recent joint AES/SMPTE meeting at the Sportsmen’s Lodge in Studio City showcased the talents of the post production crew that worked on the recent Netflix series Stranger Things at Technicolor’s facilities in Hollywood.

Over 160 attendees came to hear how supervising sound editor Brad North, sound designer Craig Henighan, sound effects editor Jordan Wilby, music editor David Klotz and dialog/music re-recording mixer Joe Barnett worked their magic on last year’s eight-episode Season One (Sadly, effects re-recording mixer Adam Jenkins was unable to attend the gathering.) Stranger Things, from co-creators Matt Duffer and Ross Duffer, is scheduled to return in mid-year for Season 2.

L-R: Jordan Wilby, Brad North, Craig Henighan, Joe Barnett, David Klotz and Mel Lambert. Photo Credit: Steve Harvey.

Attendees heard how the crew developed each show’s unique 5.1-channel soundtrack, from editorial through re-recording — including an ‘80s-style, synth-based music score, from Austin-based composers Kyle Dixon and Michael Stein, that is key to the show’s look and feel — courtesy of a full-range surround sound playback system supplied by Dolby Labs.

“We drew our inspiration — subconsciously, at least — from sci-fi films like Alien, The Thing and Predator,” Henighan explained. The designer also revealed how he developed a characteristic sound for the monster that appears in key scenes. “The basic sound is that of a seal,” he said. “But it wasn’t as simple as just using a seal vocal, although it did provide a hook — an identifiable sound around which I could center the rest of the monster sounds. It’s fantastic to take what is normally known as a nice, light, fun-loving sound and use it in a terrifying way!” Tim Prebble, a New Zealand-based sound designer, and owner of sound effects company Hiss and A Roar, offers a range of libraries, including SD003 Seal Vocals|Hiss and A Roar.

Gear used includes Avid Pro Tools DAWs — everybody works in the box — and Avid 64-fader, dual-operator S6 console at the Technicolor Seward Stage. The composers use Apple Logic Pro to record and edit their AAF-format music files.


Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

 

G-Tech 6-15
Jon Hamm

Audio post for Jon Hamm’s H&R Block spots goes to Eleven

If you watch broadcast television at all, you’ve likely seen the ubiquitous H&R Block spots featuring actor Jon Hamm of Mad Men fame. The campaign out of Fallon Worldwide features eight spots — all take place either on a film set or a studio backlot, and all feature Hamm in costume for a part. Whether he’s breaking character dressed in traditional Roman garb to talk about how H&R Block can help with your taxes, or chatting up a zombie during a lunch break, he’s handsome, funny and on point: use H&R Block for your tax needs. Simon McQuoid from Imperial Woodpecker directed.

Studio C /Katya Jeff Payne

Jeff Payne

The campaign’s audio post was completed at Eleven in Santa Monica. Eleven founder Jeff Payne worked the spots. “As well as mixing, I created sound design for all of the spots. The objective was to make the sound design feel very realistic and to enhance the scenes in a natural way, rather than a sound design way. For example, on the spot titled Donuts the scene was set on a studio back lot with a lot of extras moving around, so it was important to create that feel without distracting from the dialogue, which was very subtle and quiet. On the spot titled Switch, there was a very energetic music track and fast cutting scenes, but again it needed support with realistic sounds that gave all the scenes more movement.”

Payne says the major challenge for all the spots was to make the dialogue feel seamless. “There were many different angle shots with different microphones that needed to be evened out so that the dialogue sounded smooth.”

In terms of tools, all editing and mixing was done with Avid’s Pro Tools HDX system and S6 console. Sound design was done through Soundminer software.

Jordan Meltzer was assistant mixer on the campaign, and Melissa Elston executive produced for Eleven. Arcade provided the edit, Timber the VFX and post and color was via MPC.


Behind the Title: Stir Post Audio sound designer/mixer Nick Bozzone

NAME: Nick Bozzone

COMPANY: Chicago’s Stir Post Audio (@STIRpost)

DESCRIBE YOUR COMPANY:
Stir Post Audio is comprised of engineers, mixers, sound designers and producers, who transform audio mixes into what we call “sonic power shots.”

WHAT’S YOUR JOB TITLE?
Senior Sound Designer/Mixer

WHAT DOES THAT ENTAIL?
As a post sound professional, there are many different disciplines of audio that I use on a day-to-day basis — voiceover recording/mic techniques (ADR included), creative sound designing, voiceover and music editing, 5.1 and stereo broadcast (LKFS) mixing, as well as providing a positive (and fun) voice in the room.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The term sound designer envelops more than simply spotting stock sound effects to picture, it’s an opportunity to be as creative as my mind allows. It’s a chance at making a sonic signature —a signature that, most of the time, is associated with the product itself. I have been very fortunate through my career so far to have worked on these types of commercial campaigns and short films… projects that have allowed me to stretch my sonic imagination.

WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is when its time to mix. Mixing can be just as creative, if not more so, as sound design. There are a lot of technical aspects to mixing heavy-hitting commercials. Most of the time there are a bunch of very dynamic elements going on at the same time. The finesse of a great mix is the ability to take all of these things, bring them all together and have them all sitting in their own spot.

WHAT’S YOUR LEAST FAVORITE?
It may be my least favorite part, but it’s a necessary evil… archiving!

WHAT’S YOUR FAVORITE TIME OF THE DAY?
During work, it’s when the whole room gives my mix a thumbs up. During the weekend, it’s definitely around sunset. For whatever reason, no matter how tired I am, around sunset is when my body kicks into its second wind and I become a night owl (or at least I used to be one before my daughter was born five months ago).

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
“If you love what you do, you’ll never work a day in your life.” That was told to me when I entered college, and I took that quote to heart. Originally, I thought that I wanted to be a creative writer and then I had an interest in being a hypnotherapist. Both were interesting to me, but neither one was holding my interest for very long. Thankfully, I took an introductory class in Pro Tools. That one class showed me that there could be a future in sound. You never know where you’ll get your inspiration.

Nick creating sounds for Mist Twst.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Many projects that come through our doors require quite a bit of strategy with regard to the intention or emotion of the project. I worked on the re-branding campaign for Pepsi’s Sierra Mist, which changed its name to Mist Twst.

There were a lot of very specific sound design elements I created in that session. The intention was to not just make an everyday run-of-the-mill soda commercial; we wanted it to feel crisp, clean and natural like the drink. So, we went to the store and bought a bunch of different fruits and vegetables, and recorded ourselves cutting, squeezing, and dropping them into a fizzy glass of Mist Twst. We even recorded ourselves opening soda cans at different speeds and pouring soda into glasses with and without ice.

I also worked on a really fun 5 Gum radio campaign that won a Radio Mercury Award. The concept was a “truth or dare” commercial geared toward people streaming music with headphones on. It allows the listener to choose whether to play along with listening to the left headphone for a truth, or the right headphone to do a dare.

We did campaign for Aleve with beautiful film showing a grandfather on an outing with his granddaughter at an amusement park and suddenly he throws his back out. The entire park grinds to a halt as a result — visually and audio-wise. There was a lot of sound design involved in this process, and was a very fun and creative experience.

Kerrygold

For a recent package of TV spots for Kerrygold, the Irish dairy group, created by Energy BBDO. my main goal for “Made for this Moment” was to let the gentile music track and great lyrics have center stage and breathe, as if they were their own character in the story. My approach to the sound design was to fill out each scene with subtle sound design elements that are almost felt and not heard… nothing poking through further than anything else, and nothing competing with the music, only enhancing the overall mood.”


Focusing on sound bars at CES 2017

By Tim Hoogenakker

My day job is as a re-recording mixer and sound editor working on long-form projects, so when I attended this year’s Consumer Electronics Show in Las Vegas, I honed in on the leading trends in home audio playback. It was important for me to see what the manufacturers are planning regarding multi-channel audio reproduction for the home. From the look of it, sound bars seem to be leading the charge. My focus was primarily with immersive sound bars, single-box audio components capable of playing Dolby Atmos and DTS:X as close as they can in their original format.

Klipsch TheaterBar

Klipsch Theaterbar

Now I must admit, I’ve kicked and screamed about sound bars in the past, audibly rolling my eyes at the concept. We audio mixers are used to working in perfect discrete surround environments, but I wanted to keep an open mind. Whether we as sound professionals like it or not, this is where the consumer product technology is headed. That and I didn’t see quite the same glitz and glam over discrete surround speaker systems at CES.

Here are some basic details with immersive sound bars in general:

1. In addition to the front channels, they often have up-firing drivers on the left and right edges (normally on the top and sides) that are intended to reflect onto the walls and the ceiling of the room. This is to replicate the immersiveness as much as possible. Sure this isn’t exact replication, but I’ll certainly give manufacturers praise for their creativity.
2. Because of the required reflectivity, the walls have to be of a flat enough surface to reflect the signal, yet still balanced so that it doesn’t sound like you’re sitting in the middle of your shower.
3. There is definitely a sweet spot in the seating position when listening to sound bars. If you move off-axis, you may experience somewhat of a wash sitting near the sides, but considering what they’re trying to replicate, it’s an interesting take.
4. They usually have an auto-tuning microphone system for calculating the room for the closest accuracy.
5. I’m convinced that there’s a conspiracy by the manufacturers to make each and every sound bar, in physical appearance, resemble the enigmatic Monolith in 2001: A Space Odyssey…as if literally someone just knocked it over.

Yamaha YSP5600

My first real immersive sound bar experience happened last year with the Yamaha YSP-5600, which comes loaded with 40 (yes 40!) drivers. It’s a very meaty 26-pound sound bar with a height of 8.5 inches and width of 3.6 feet. I heard a few projects that I had mixed in Dolby Atmos played back on this system. Granted, even when correctly tuned it’s not going to sound the same as my dubbing stage or with dedicated home theater speakers, but knowing this I was pleasantly surprised. A few eyebrows were raised for sure. It was fun playing demo titles for friends, watching them turn around and look for surround speakers that weren’t there.

A number of the sound bars displayed at CES bring me to my next point, which honestly is a bit of a complaint. Many were very thin in physical design, often labeled as “ultra-thin,” which to me means very small drivers, which tells me that there’s an elevated frequency crossover line for the subwoofer(s). Sure, I understand that they need to look sleek so they can sell and be acceptable for room aesthetics, but I’m an audio nerd. I WANT those low- to mid-frequencies carried through from the drivers, don’t just jam ALL the low- and mid-frequencies to the sub. It’ll be interesting to see how this plays out as these products reach market during the year.

Sony HTST 5000

Besides immersive audio, most of these sound bars will play from a huge variety of sources, formats and specs, such as Blu-ray, Blu-ray UHD, DVD, DVD-Audio, streaming via network and USB, as well as connections for Wi-Fi, Bluetooth and 4K pass-through.

Some of these sound bars — like many things at CES 2017 — are supported with Amazon Alexa and Google Home. So, instead of fighting over the remote control, you and your family can now confuse Alexa with arguments over controlling your audio between “Game of Thrones” and Paw Patrol.

Finally, I probably won’t be installing a sound bar on my dub stage for reference anytime soon, but I do feel that professionally it’s very important for me to know the pros and the cons — and the quirks — so we can be aware how our audio mixes will translate through these systems. And considering that many major studios and content creators are becoming increasingly ready to make immersive formats their default deliverable standard, especially now with Dolby Vision, I’d say it’s a necessary responsibility.

Looking forward to seeing what NAB has up its sleeve on this as well.

Here are some of the more notable soundbars debuted:

LG SJ9

Sony HT-ST5000: This sound bar is compatible with Google Home. They say it works well with ceilings as high as 17 feet. It’s not DTS:X-capable yet, but Sony said that will happen by the end of the year.LG SJ9: The LG SJ9 sound bar is currently noted by LG as “4K high resolution audio” (which is an impossible statement). It’s possible that they mean it’ll pass through a 4K signal, but the LG folks couldn’t clarify. That snafu aside, it has a very wide dimensionality, which helps for stereo imaging. It will be Dolby Vision/HDR-capable via a future firmware upgrade.

The Klipsch “Theaterbar”: This another eyebrow raiser. It’ll release in Q4 of 2017. There’s no information on the web yet, but they’re showcasing this at CES.

Pioneer Elite FS-EB70: There’s no information on the web yet, but they were showcasing this at CES.

Onkyo SBT-A500 Network: Also no information but it was shown at CES.


Formosa Group re-recording mixer and sound editor Tim Hoogenakker has over 20 years of experience in audio post for music, features and documentaries, television and home entertainment formats. He had stints at Prince’s Paisley Park Studios and POP Sound before joining Formosa.


Stranger Things

Upcoming AES LA meeting features Netflix’s Stranger Things sound team

On January 31, the AES LA Section monthly meeting will showcase the sound editorial and re-recording of the Netflix series Stranger Things. Attendees will hear first-hand how the sound team creates the 5.1-channel soundtrack, including the eerie music that is key to the show’s look and feel. A second season from the Duffer Brothers is scheduled to start later this year, with its haunting ’80s-style, synth-based musical score.

For those of you not familiar with the show, it’s set in Indiana in 1983 and focuses on a 12-year-old boy gone missing and the resulting search for him by the police chief and his friends.

The editorial team for Stranger Things is headed up by supervising sound editor Brad North, who works closely with sound designer Craig Henighan, sound effects editor Jordan Wilby and music editor David Klotz. The re-recording crew, working at the Technicolor Seward stage, is Joe Barnett, who handles dialogue and music, and Adam Jenkins, who handles sound effects.

“We drew our inspiration — subconsciously, at least — from such sci-fi films as Alien, The Thing and Predator,” Henighan recalls. Part sci-fi, part horror and part family drama, Stranger Things is often considered an homage to 80’s movies like Close Encounters of the Third Kind and ET.

The joint AES/SMPTE January meeting, which will be held at the Sportsmen’s Lodge in Studio City on Tuesday, January 31, is open to both AES and SMPTE members and non-members.

Panelists will include Adam Jenkins, Jordan Wilby, Joe Barnett, David Klotz, Brad North and Craig Henighan.


Patriots Day

Augmenting Patriots Day‘s sound with archival audio

By Jennifer Walden

Fresh off the theatrical release of his dramatized disaster film Deepwater Horizon, director Peter Berg brings another current event to the big screen with Patriots Day. The film recounts the Boston Marathon bombing by combining Berg’s cinematic footage with FBI-supplied archival material from the actual bombing and investigation.

Once again, Berg chose to partner with Technicolor’s supervising sound editor/re-recording mixer Dror Mohar, who contributed to the soundtrack of Berg’s Deepwater Horizon (2016) and Lone Survivor (2013).  He earned an MPSE award nomination for sound editing on the latter.

According to Mohar, Berg’s intention for Patriots Day was not to make a film about tragedy and terrorism, but rather to tell the story of a community’s courage in the face of this disaster. “This was personal for Peter [Berg]. His conviction about not exploiting or sensationalizing any of it was in every choice he made,” says Mohar. “He was vigilant about the cinematic attributes never compromising the authenticity and integrity of the story of the events and the people who were there — the law enforcement, victims and civilians. Peter wanted to evolve and explore the sound continuously. My compass throughout was to create a soundtrack that was as immersive as it was genuine.”

From a sound design perspective, Mohar was conscious of keeping the qualities and character of the sounds in check — favoring raw, visceral sounds over treated or polished ones. He avoided oversized “Hollywood” treatments. For example, Mohar notes the Watertown shootout sequence. The lead-up to the firefight was inspired by a source audio recording of the Watertown shootout captured by a neighbor on a handheld camera.

“Two things grabbed my attention — the density of the firefight, which sounded like Chinese New Year, and the sound of wind chimes from a nearby home,” he explains. “Within what sounded like war and chaos, there was a sweet sound that referenced home, family, porch… This shootout is happening in a residential area, in the middle of everyday life. Throughout the film, I wanted to maintain the balance between emotional and visceral sounds. Working closely with picture editors Colby Parker Jr. and Gabriel Fleming, we experimented with sound design that aligned directly with the dramatic effect of the visuals versus designs that counteracted the drama and created an experience that was less comfortable but ultimately more emotional.”

Tension was another important aspect of the design. The bombing disrupted life, and not just the lives of those immediately or physically affected by the bombing. Mohar wanted the sound to express those wider implications. “When the city is hit, it affects everyone. Something in that time period is just not the same. I used a variety of recordings of calls to prayer and crowds of people from all over the world to create soundscapes that you could expect to hear in a city but not in Boston. I incorporated these in different times throughout the film. They aren’t in your face, but used subtly.”

Patriots DayThe Mix
On the mix, he and re-recording mixer Mike Prestwood-Smith chose a realistic approach to their sonic treatments.

Prestwood-Smith notes that for an event as recent and close to the heart as the Boston Marathon bombing, the goal was to have respect for the people who were involved — to make Patriots Day feel real and not sensationalized in any sense. “We wanted it to feel believable, like you are witnessing it, rather than entertaining people. We want to be entertaining, engaging and dramatic, but ultimately we don’t want this to feel gratuitous, as though we are using these events to our advantage. That’s a tight rope to tread, not just for sound but for everything, like the shooting and the performances. All of it.”

Mohar reinforces the idea of enabling the audience to feel the events of the bombing first-hand through sound. “When we experience an event that shocks us, like a car crash, or in this case, an act of terror, the way we experience time is different. You assess what’s right there in front of you and what is truly important. I wanted to leverage this characteristic in the soundtrack to represent what it would be like to be there in real time, objectively, and to create a singular experience.”

Archival Footage
Mohar and Prestwood-Smith had access to enormous amounts of archival material from the FBI, which was strategically used throughout the soundtrack. In the first two reels, up to and including the bombing, Prestwood-Smith explains that picture editors Fleming and Parker Jr. intercut between the dramatized footage and the archived footage “literally within seconds of each other. Whole scenes became a dance between the original footage and the footage that Peter shot. In many cases, you’re not aware of the difference between the two and I think that is a very clever and articulate thing they accomplished. The sound had to adhere to that and it had to make you feel like you were never really shifting from one thing to the other.”

It was not a simple task to transition from the Hollywood-quality sound of the dramatized footage to sound captured on iPhones and low-resolution cameras. Prestwood-Smith notes that he and Mohar were constantly evolving the qualities of the sounds and mix treatments so all elements would integrate seamlessly. “We needed to keep a balance between these very different sound sources and make them feel coherently part of one story rather than shifting too much between them all. That was probably the most complex part of the soundtrack.”

Berg’s approach to perspective — showing the event from a reporter’s point of view as opposed to a spectator’s point of view — helped the sound team interweave the archival material and fictionalized material. For example, Prestwood-Smith reports the crowd sounds were 90 percent archival material, played from the perspective of different communication sources, like TV broadcasts, police radio transmissions and in-ear exchanges from production crews on the scene. “These real source sounds are mixed with the actors’ dialogue to create a thread that always keeps the story together as we alternate through archival and dramatized picture edits.”

While intercutting various source materials for the marathon and bombing sequences, Mohar and Prestwood-Smith worked shot by shot, determining for each whether to highlight an archival sound, carry the sound across from the previous shot or go with another specific sound altogether, regardless of whether it was one they created or one that was from the original captured audio.

“There would be archival footage with screaming on it that would go across to another shot and connect the archive footage to the dramatized, or sometimes not. We literally worked inch-by-inch to make it feel like it all belonged in one place,” explains Prestwood-Smith. “We did it very boldly. We embraced it rather than disguised it. Part of what makes the soundtrack so dynamic is that we allow each shot to speak in its genuine way. In the earlier reels, where there is more of the archival footage, the dynamics of it really shift dramatically.”

Patriots Day is not meant to be a clinical representation of the event. It is not a documentary. By dramatizing the Boston Marathon bombing, Berg delivers a human story on an emotional level. He uses music to help articulate the feeling of a scene and guide the audience through the story emotionally.

“On an emotional level, the music did an enormous amount of heavy lifting because so much of the sound work was really there to give the film a sense of captured reality and truth,” says Prestwood-Smith. “The music is one of the few things that allows the audience to see the film — the event — slightly differently. It adds more emotion where we want it to but without ever tipping the balance too far.”

The Score
Composers Trent Reznor and Atticus Ross had a definitive role for each cue. Their music helps the audience decompress for certain moments before being thrust right back into the action. “Their compositions were so intentional and so full of character and attitude. It’s not generic,” says Mohar. “Each cue feels like a call to action. The tracks have eyes and mouths and teeth. It’s very intentional. The music is not just an emotional element; it’s part of the sound design and sound overall. The sound and music work together to contribute equally to this film.”

The way that we go back and forth between the archival footage and the dramatized footage was the same way we went from designed audio to source audio, from music to musical, from sound effects to sound effective,” he continues. “On each scene, we decided to either blur the line between music and effects, between archival sound and designed sound, or to have a hard line between each.”

To complement the music, Mohar experimented with rhythmic patterns of sounds to reinforce the level of intensity of certain scenes. “I brought in mechanical keyboards of various types, ages and material, and recorded different typing rhythms on them. These sounds were used in many of the Black Falcon terminal scenes. I used softer sounding keyboards with slower tempos when I wanted the level of tension to be lower, and then accelerated them into faster tempos with harsher sounding keyboards as the drama in the terminal increased,” he says. “By using modest, organic sounds I could create a subliminal sense of tension. I treated the recordings with a combination of plug-ins, delays, reverbs and EQs to create sounds that were not assertive.”

Dialogue
In terms of dialogue, the challenge was to get the archive material and the dramatized material to live in the same space emotionally and technically, says Prestwood-Smith. “There were scenes where Mark Wahlberg’s character is asking for ambulances or giving specific orders and playing underneath that dialogue is real, archival footage of people who have just been hurt by these explosions talking on their phones. Getting those two things to feel integrated was a complex thing to do. The objective was to make the sound believable. ‘Is this something I can believe?’ That was the focus.”

Prestwood-Smith used a combination of Avid and FabFilter plug-ins for EQ and dynamics, and created reverbs using Exponential Audio’s PhoenixVerb and Audio Ease’s Altiverb.

Staying in The Box
From sound editorial through to the final mix, Mohar and Prestwood-Smith chose to keep the film in Pro Tools. Staying in the box offered the best workflow solution for Patriots Day. Mohar designed and mixed for the first phase of the film at his studio at Technicolor’s Tribeca West location in Los Angeles, a satellite of Technicolor at Paramount’s main sound facility while Prestwood-Smith worked out of his own mix room in London. The two collaborated remotely, sharing their work back and forth, continuously developing the mix to match the changing picture edit. “We were on a very accelerated schedule, and they were cutting the film all the way through mastering. Having everything in the box meant that we could constantly evolve the soundtrack,” says Prestwood-Smith.

7.1 Surround Mix
Mohar and Prestwood-Smith met up for the final 7.1 surround mix at 424 Post in Hollywood and mixed the immersive versions at Technicolor Hollywood.

While some mix teams prefer to split the soundtrack, with one mixer on music and dialogue and the other handling sound effects and Foley, Mohar and Prestwood-Smith have a much more fluid approach. There is no line drawn across the board; they share the tracks equally.

“Mike has great taste and instincts; he doesn’t operate like a mixer. He operates like a filmmaker and I look to him to make the final decisions and direct the shape of the soundtrack,” explain Mohar. “The best thing about working with Mike is that it’s truly collaborative, no part of the mix belonged to just one person. Anything was up for grabs and the sound as a whole belonged to the story. It makes the mix more unified, and I wouldn’t have it any other way.”


Jennifer Walden is a New Jersey-based audio pro and writer. 


Cory Melious

Behind the Title: Heard City senior sound designer/mixer Cory Melious

NAME: Cory Melious

COMPANY: Heard City (@heardcity)

CAN YOU DESCRIBE YOUR COMPANY?
We are an audio post production company.

WHAT’S YOUR JOB TITLE?
Senior Sound Designer/Mixer

WHAT DOES THAT ENTAIL?
I provide final mastering of the audio soundtrack for commercials, TV shows and movies. I combine the production audio recorded on set (typically dialog), narration, music (whether it’s an original composition or artist) and sound effects (often created by me) into one 5.1 surround soundtrack that plays on both TV and Internet.

Heard City

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
I think most people without a production background think the sound of a spot just “is.” They don’t really think about how or why it happens. Once I start explaining the sonic layers we combine to make up the final mix they are really surprised.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The part that really excites me is the fact that each spot offers its own unique challenge. I take raw audio elements and tweak and mold them into a mix. Working with the agency creatives, we’re able to develop a mix that helps tell the story being presented in the spot. In that respect I feel like my job changes day in and day out and feels fresh every day.

WHAT’S YOUR LEAST FAVORITE?
Working late! There are a lot of late hours in creative jobs.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I really like finishing a job. It’s that feeling of accomplishment when, after a few hours, I’m able to take some pretty rough-sounding dialog and manipulate that into a smooth-sounding final mix. It’s also when the clients we work with are happy during the final stages of their project.

WHAT TOOLS DO YOU USE ON A DAY-TO-DAY BASIS?
Avid Pro Tools, Izotope RX, Waves Mercury, Altiverb and Revibe.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
One of my many hobbies is making furniture. My dad is a carpenter and taught me how to build at a very young age. If I never had the opportunity to come to New York and make a career here, I’d probably be building and making furniture near my hometown of Seneca Castle, New York.

WHY DID YOU CHOOSE THIS PROFESSION? HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I think this profession chose me. When I was a kid I was really into electronics and sound. I was both the drummer and the front of house sound mixer for my high school band. Mixing from behind the speakers definitely presents some challenges! I went on to college to pursue a career in music recording, but when I got an internship in New York at a premier post studio, I truly fell in love with creating sound for picture.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Recently, I’ve worked on Chobani, Google, Microsoft, and Budweiser. I also did a film called The Discovery for Netflix.

The Discovery for Netflix.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’d probably have to say Chobani. That was a challenging campaign because the athletes featured in it were very busy. In order to capture the voiceover properly I was sent to Orlando and Los Angeles to supervise the narration recording and make sure it was suitable for broadcast. The spots ran during the Olympics, so they had to be top notch.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, iPad and depth finder. I love boating and can’t imagine navigating these waters without knowing the depth!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m on the basics — Facebook, LinkedIn and Instagram. I dabble with SnapChat occasionally and will even open up Twitter once in a while to see what’s trending. I’m a fan of photography and nature, so I follow a bunch of outdoor Instagramers.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I joke with my friends that all of my hobbies are those of retired folks — sailing, golfing, fly fishing, masterful dog training, skiing, biking, etc. I joke that I’m practicing for retirement. I think hobbies that force me to relax and get out of NYC are really good for me.


Warner/Chappell intros Color TV, Elbroar music catalogs from Germany

For those of you working in film and television with a need for production music, Warner/Chappell Production Music has added to its offerings with the Color TV and Elbroar catalogs. Color TV is German composer Curt Cress’ nearly 14,000-track collection from Curt Cress Publishing and its sister company F.A.M.E. Recordings Publishing. Color TV and the Elbroar catalog, which is also from Germany, are available for licensing now.

Color TV brings to life a wide range of TV production styles with an initial release that includes nine albums: Panoramic Landscapes; Simply Happy, Quirky & Eccentric; Piano Moods; Chase & Surveillance; Secret Service; Actionism; Drama Cuts; and Crime Scene.

Following the initial release, Warner/Chappell Production Music plans to offer two new compilations from the catalog every two weeks. Color TV is available for licensing worldwide, excluding Italy and France.

“Composers have that unique talent and ability to translate what they’re feeling,” explains Warner/Chappell Production Music president Randy Wachtler. “You can hear emotion in different compositions, and it’s always interesting to hear how creators from countries around the world capture it.  Adding to our mix only adds more perspective and more choice for our clients.”

Cress began his musical career in the 1960s, performing in acts such as Klaus Doldinger’s Passport and his own band Snowball, as well as in Falco and Udo Lindenberg’s band. His solo projects involved work with local and international artists including Freddie Mercury, Tina Turner, Rick Springfield, SAGA, Meat Loaf and Scorpions, as well as releasing his own solo material. He made a name for himself as a composer for popular German films and TV series such as SK Kölsch, HeliCops and The Red Mile.

Elbroar, out of Hamburg, Germany, is a collection ranging from epic to minimal, jazz to techno and drama to fun. The catalog serves creatives in the fields of television, film and advertising, with a strong focus on trailers and daytime TV.

The catalog’s first release, “Epic Fairy Tales,” is an album of orchestral arrangements that set the scene for fantastic stories and epic emotions. Elbroar is available for licensing immediately, worldwide.

What it sounds like when Good Girls Revolt for Amazon Studios

By Jennifer Walden

“Girls do not do rewrites,” says Jim Belushi’s character, Wick McFadden, in Amazon Studios’ series Good Girls Revolt. It’s 1969, and he’s the national editor at News of the Week, a fictional news magazine based in New York City. He’s confronting the new researcher Nora Ephron (Grace Gummer) who claims credit for a story that Wick has just praised in front of the entire newsroom staff. The trouble is it’s 1969 and women aren’t writers; they’re only “researchers” following leads and gathering facts for the male writers.

When Nora’s writer drops the ball by delivering a boring courtroom story, she rewrites it as an insightful articulation of the country’s cultural climate. “If copy is good, it’s good,” she argues to Wick, testing the old conventions of workplace gender-bias. Wick tells her not to make waves, but it’s too late. Nora’s actions set in motion an unstoppable wave of change.

While the series is set in New York City, it was shot in Los Angeles. The newsroom they constructed had an open floor plan with a bi-level design. The girls are located in “the pit” area downstairs from the male writers. The newsroom production set was hollow, which caused an issue with the actors’ footsteps that were recorded on the production tracks, explains supervising sound editor Peter Austin. “The set was not solid. It was built on a platform, so we had a lot of boomy production footsteps to work around. That was one of the big dialogue issues. We tried not to loop too much, so we did a lot of specific dialogue work to clean up all of those newsroom scenes,” he says.

The main character Patti Robinson (Genevieve Angelson) was particularly challenging because of her signature leather riding boots. “We wanted to have an interesting sound for her boots, and the production footsteps were just useless. So we did a lot of experimenting on the Foley stage,” says Austin, who worked with Foley artists Laura Macias and Sharon Michaels to find the right sound. All the post sound work — sound editorial, Foley, ADR, loop group, and final mix was handled at Westwind Media in Burbank, under the guidance of post producer Cindy Kerber.

Austin and dialog editor Sean Massey made every effort to save production dialog when possible and to keep the total ADR to a minimum. Still, the newsroom environment and several busy street scenes proved challenging, especially when the characters were engaged in confidential whispers. Fortunately, “the set mixer Joe Foglia was terrific,” says Austin. “He captured some great tracks despite all these issues, and for that we’re very thankful!”

The Newsroom
The newsroom acts as another character in Good Girls Revolt. It has its own life and energy. Austin and sound effects editor Steve Urban built rich backgrounds with tactile sounds, like typewriters clacking and dinging, the sound of rotary phones with whirring dials and bell-style ringers, the sound of papers shuffling and pencils scratching. They pulled effects from Austin’s personal sound library, from commercial sound libraries like Sound Ideas, and had the Foley artists create an array of period-appropriate sounds.

Loop group coordinator Julie Falls researched and recorded walla that contained period appropriate colloquialisms, which Austin used to add even more depth and texture to the backgrounds. The lively backgrounds helped to hide some dialogue flaws and helped to blend in the ADR. “Executive producer/series creator Dana Calvo actually worked in an environment like this and so she had very definite ideas about how it would sound, particularly the relentlessness of the newsroom,” explains Austin. “Dana had strong ideas about the newsroom being a character in itself. We followed her guide and wanted to support the scenes and communicate what the girls were going through — how they’re trying to break through this male-dominated barrier.”

Austin and Urban also used the backgrounds to reinforce the difference between the hectic state of “the pit” and the more mellow writers’ area. Austin says, “The girls’ area, the pit, sounds a little more shrill. We pitched up the phone’s a little bit, and made it feel more chaotic. The men’s raised area feels less strident. This was subtle, but I think it helps to set the tone that these girls were ‘in the pit’ so to speak.”

The busy backgrounds posed their own challenge too. When the characters are quiet, the room still had to feel frenetic but it couldn’t swallow up their lines. “That was a delicate balance. You have characters who are talking low and you have this energy that you try to create on the set. That’s always a dance you have to figure out,” says Austin. “The whole anarchy of the newsroom was key to the story. It creates a good contrast for some of the other scenes where the characters’ private lives were explored.”

Peter Austin

The heartbeat of the newsroom is the teletype machines that fire off stories, which in turn set the newsroom in motion. Austin reports the teletype sound they used was captured from a working teletype machine they actually had on set. “They had an authentic teletype from that period, so we recorded that and augmented it with other sounds. Since that was a key motif in the show, we actually sweetened the teletype with other sounds, like machine guns for example, to give it a boost every now and then when it was a key element in the scene.”

Austin and Urban also built rich backgrounds for the exterior city shots. In the series opener, archival footage of New York City circa 1969 paints the picture of a rumbling city, moved by diesel-powered buses and trains, and hulking cars. That footage cuts to shots of war protestors and police lining the sidewalk. Their discontented shouts break through the city’s continuous din. “We did a lot of texturing with loop group for the protestors,” says Austin. He’s worked on several period projects over years, and has amassed a collection of old vehicle recordings that they used to build the street sounds on Good Girls Revolt. “I’ve collected a ton of NYC sounds over the years. New York in that time definitely has a different sound than it does today. It’s very distinct. We wanted to sell New York of that time.”

Sound Design
Good Girls Revolt is a dialogue-driven show but it did provide Austin with several opportunities to use subjective sound design to pull the audience into a character’s experience. The most fun scene for Austin was in Episode 5 “The Year-Ender” in which several newsroom researchers consume LSD at a party. As the scene progresses, the characters’ perspectives become warped. Austin notes they created an altered state by slowing down and pitching down sections of the loop group using Revoice Pro by Synchro Arts. They also used Avid’s D-Verb to distort and diffuse selected sounds.

Good Girls Revolt“We got subjective by smearing different elements at different times. The regular sound would disappear and the music would dominate for a while and then that would smear out,” describes Austin. They also used breathing sounds to draw in the viewer. “This one character, Diane (Hannah Barefoot), has a bad experience. She’s crawling along the hallway and we hear her breathing while the rest of the sound slurs out in the background. We build up to her freaking out and falling down the stairs.”

Austin and Urban did their design and preliminary sound treatments in Pro Tools 12 and then handed it off to sound effects re-recording mixer Derek Marcil, who polished the final sound. Marcil was joined by dialog/music re-recording mixer David Raines on Stage 1 at Westwind. Together they mixed the series in 5.1 on an Avid ICON D-Control console. “Everyone on the show was very supportive, and we had a lot of creative freedom to do our thing,” concludes Austin.