Issue link: http://digital.copcomm.com/i/990701
59 Q2 2018 / CINEMONTAGE key dialogue and music tracks, Andy will be pre-dubbing his 350-plus sound effects tracks using headphones." "I like to use Jerry Harvey [JH Audio] in-ear headphones, which deliver the pre-dubbing volume I need," King confirms. "They're the same IEMs that musicians use on stage, and are a game changer for me due to their sound isolation and frequency response." The team has three days to shape the show and develop a mix they can play for the showrunners. On Universal's Mix 2, the re- recording mixers use an Avid ICON D-Control console surface with 48 on-surface faders linked to Pro Tools HD 12.8.3 with Atmos integrated panners. King worked with sound effects editor Mark Allen, MPSE, "to create a Pro Tools template that worked for both of us — one that dovetails perfectly with my mix template," he explains. "I have eight buckets of eight mono or eight stereo channels for hard effects; a bucket of Atmos Objects — eight mono/eight stereo; five buckets of six mono/two stereo horse elements, including Vox, Bridle, Hoof, Extra A and Extra B; a bucket of OMF tracks; a bucket of production effects tracks; a BG A bucket with 30 tracks of mono/stereo combos; a BG B bucket with 30 tracks of mono/stereo combos; and a BG E bucket for English language or otherwise, with splits for easier M&E creation." The effects mixer also has up to 25 tracks of Foley footsteps, "maybe 15 tracks of Foley props plus Foley pats, sits, etc., and a channel of Foley cloth," he says. "Then there's a bucket of reverb returns; one of master outs that feed my iZotope Insight plug-ins — they don't make a 10-channel version, so I jury-rigged a 5.1 and a Quad — and a separate iZotope RX Monitor for RX6 [audio repair] throughput. Using the RX6 plug-in, I can dive in and use noise reduction on backgrounds and some effects, especially when I have to push them above loud, wide frequency-range music and the noise gets audible. I also use it to clean up and reduce frequency bands to make things find their space. And I must pay tribute to our amazing stage recordist Rick Camara and engineer Mike Morongell." At the end of the first day of the mix, Rogers will add the effects pre-dubs and "adjust ambiences against the music, which is very prominent," he explains. "I like mixing music Andy King.