Tag Archives: Audio Engineering Society

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.

AES: Avid intros Pro Tools 12.6 and new MRTX audio interface

Avid was at AES in LA with several new tools and updates for audio post pros. New releases include Pro Tools 12.6 software and Pro Tools MTRX, an audio interface for Pro Tools, HDX and HD Native.

Avid Pro Tools 12.6 delivers new editing capabilities, including Clip Effects and layered editing features, making it possible to edit and prepare mixes faster. Production can also be accelerated using automatic playlist creation and selection using shortcut keys. Enhanced “in-the-box” dubber workflows have also been included.

Pro Tools MTRX, developed by Digital Audio Denmark, gives Pro Tools users the superior sonic quality of DAD’s A to D and D to A converters, along with flexible monitoring, I/O and routing capabilities, all in one unit. MTRX will let users gain extended monitor control and flexible routing with Pro Tools S6, S3 and other EUCON surfaces, use the converter as a high-performance 64-channel Pro Tools HD interface, and get automatic sample rate conversion on AES inputs. MTRX (our main photo) will be available later this year.

Tony Cariddi

During AES LA, we caught up with Tony Cariddi, director of product and solutions marketing for Avid, to see what he had to say about where Avid is going next. “What we have seen in the industry is that there is no shortage of innovation and there are new solutions for problems that are always emerging,” says Cariddi. “But what happens when you have all of these different solutions is it puts a lot of pressure on the user to make sure everything works together seamlessly. So what you’ll see from Avid Everywhere going forward is a continuation of trying to connect our own products closer together on the MediaCentral Platform, so it’s really fluid for our users, but also for people to be able to integrate other solutions into that platform just as easily.

“We also have to be responsive to how people want to access our tools,” he continued. “What kind of packages are they looking for? Do they want to subscribe? Do they want to buy? Enterprise licensing? Floating license? So you’ll probably see bundles and new ways to access licensing and new flexible ways to maybe rent the software when you need it. We’re trying to be very responsive to the multifaceted needs of the industry, and part of that is workflow, part of that is financial and part of that is the integration of everything.”

Oscar-nominated sound editors, mixers share insights with AES LA section

By Mel Lambert

A recent meeting of the Audio Engineering Society’s Los Angeles section offered an opportunity to hear from a number of Oscar nominees and winners as they shared their experiences while preparing dramatic film soundtracks, including how the various sound elements were secured, edited and mixed to picture, plus the types of hardware used in editorial suites and dubbing stages.

Whiplash, written and directed by Damien Chazelle, was re-recorded on Technicolor at Paramount’s Stage 4 by dialog/music mixer Craig Mann and sound effects mixer Ben Wilkins (see our interview with Wilkins), using tracks secured on location by production mixer Thomas Continue reading