Issue link: https://digital.copcomm.com/i/1122919
21 Below: Steve Tibbo CAS mixing on his sound cart. director changes something, I'm ready for it. It may have taken a bit more time to rig the additional mics but it works. Chindha (RIP) built my minicart years ago. It was actually created for our Dude Ranch episode. I wanted the cart to hold a Zaxcom Mix-8, a Deva 5, and a Lectrosonics Field Venue. It became kind of a 'lunch box' that can come off the cart and go into an insert car. Its has power distribution, two monitors, and it fits on the trays of all of the insert cars. It's my fast mini-rig that I can pop off, walk across a field, go in a four-wheel drive, or up stairs allowing me to have faders anywhere I go. I adapt the gear based on the episode and what we're doing. When we did our episode in Australia, I had to send everything out early but I needed my studio cart in Los Angeles because we were doing a big episode. In Australia, I used my medium cart, a Deva Fusion, a Nomad, a Zaxcom Mix-12, and a Mix-8. I rented another Venue there to augment what I sent. Frequency coordination was a problem since Blocks 25-29 worked well in Australia, but were no longer available here. I don't like the Sound Department being the center of atten- tion. I just like production noticing, "wow, it sounds good." But if I need to speak up, I speak up. I try to address an issue by asking a question. For example, "I'm not hearing this line or not understanding it. What is she trying to say?" Or, "Is there music going on, is there a Walla, how do you intend to play it?" or "Do you want them speaking up over this stuff?" Many times I'll ask for a wild line. If there is ADR needed, we'll do it on the stage. We'll play back the scene that needs to be looped on the set that we actually recorded the scene on. We try to keep the actors from spending extra time com- muting to the ADR stage. The show is mixed over at Smart Post in Burbank and we are on Stage 5 on the Fox Lot. I also have to say, the post team is stellar and it is great to have open lines of communication with them. The Supervising Sound Editor is Penny Harold and Dialog Editor is Lisa Varetakis. Dean Okrand CAS and Brian R. Harman CAS are the Re-recording Mixers. Does it ever get stale? No, and we are going on to our eleventh season! I really enjoy doing the show and it has become really fun. We still have moments where I think, "how are we going to pull this off." But when we do, it feels amazing! From left: Santa Anita Park with Preston Connor and Dan Lipe; insert car setup.