NAME: Jody Nazzaro
CAN YOU DESCRIBE YOUR COMPANY?
We’re a boutique audio house specializing in mixing, sound design and music composition for every screen and genre. Music supervision and licensing, as well as voice casting, round out our capabilities.
WHAT’S YOUR JOB TITLE?
WHAT DOES THAT ENTAIL?
The sound designer/mixer, and to some extent composer, responsibilities have become blurred and intertwined for some time now. I predominantly sound design and mix commercials and promos for cinema, TV and IP delivery. When it comes to network promos, I often record voiceover, sound design and mix multiple spot lengths with many versions within a four-hour booking.
At the agency level, heavier sound design and original music jobs still occupy their own arena. I may sound design a spot, but not mix it, and I often mix spots another sound designer has crafted. It’s wonderful to collaborate with my colleagues, and it’s the mastering of the different disciplines that makes what I do exciting and challenging.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
In addition to the above, I sometimes act as producer, voice coach, writer, Foley artist, voiceover talent, therapist, sommelier, concierge and quality control technician.
WHAT TOOLS DO YOU USE?
I use Avid Pro Tools and it’s available arsenal of plug-ins and synthesizers to translate what I’m hearing in my head to what I want the world to hear. My trusty Dolby Cat 430 and iZotope RX 4 allow me to fix problematic audio, and I love my RTW TouchMonitor for metering.
WHAT’S YOUR FAVORITE PART OF THE JOB?
Usually in post, the final sound mix is one of the last steps of the project. I enjoy it when clients come to my studio for the mix after what is sometimes a month-long process of pre-production, shoot, edit, VFX, etc. By the time they show up to the studio, they’re pretty burnt out. It’s my task to inject some fresh life and vibrancy into their spot, and at the end of the session, have them feel happy about shipping a final product they’re proud of.
WHAT’S YOUR LEAST FAVORITE?
Sometimes clients get rough-cut love and it’s hard to get them to budge on what is a better mix decision for telling the story. That, and when no one pays attention while we’re recording voiceover.
WHAT IS YOUR FAVORITE TIME OF THE DAY?
Early morning, before everyone arrives. I get to sit in a beautiful quiet studio and focus on the task at hand. No music, no phones, no email. It’s sort of a calm-before-the storm pre-session meditation.
IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Flying bush planes and making wine in the Northwest.
HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I had a “communication arts” class in 8th grade and wanted to be a film editor. Then after college, at the company I was working for, an audio assistant position opened up. It paid more so I took it and that’s when I fell in love with the power of sound.
CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I just worked with Showtime/HBO to sound design and mix the open for the Mayweather vs. Pacquiao fight. I mixed a really nice spot with The Vault for Eastbay.com, and some funny work for ESPN and Amazon. I also just wrapped the sound design package for Spike TV’s rebrand.
WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I put equal effort into every job all the time. Regardless of budget or profile. I think that’s what my clients have come to expect and it’s what they appreciate.
NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I can name three I’d like to un-invent! Smart phones, email and MP3 encoding!
DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Yes. Whatever is in the spot I’m mixing… over and over and over and over again!
WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
We go down the shore whenever we can, and I chase my 19-month-old son around. The sound of his giggle makes it all go away.