Issue link: https://digital.copcomm.com/i/1383074
58 S U M M E R 2 0 2 1 I C A S Q U A R T E R L Y in the city was going to quickly become unfeasible, we packed up the Pro Tools mix system and drove it out to my house in New Jersey. The biggest challenge by far was the simultaneous collapse of child care and school. Because of social distancing, we couldn't have anyone come to watch the kids, and remote schooling hadn't really become a thing, so I had two kids at home all day, 24/7. To get around this, I was basically just weaving work in through my day from 9 a.m. to about 1 a.m. After the kids were asleep, it was much easier to get work done in uninterrupted stretches. It was not an ideal environment, but allowed us to do what we needed to do, which was keep refining the sound design, conforming to the latest picture versions, and working on the dialogue. Lawrence: By the time I started mixing the score for The Queen's Gambit, my wife, kids, and I had already left our home in New York City for a family farmhouse in the woods of Maine where we rode out the summer months of the pandemic. I rented a huge SUV so that I could bring all the gear I would need to build a temporary mix studio. It was from there that I worked my way through each episode. With secure servers, Google Docs, and an occasional phone call, I stayed in regular contact with Carlos, his assistant, and our music editor, Tom Kramer. Congratulations to the whole team on a beautifully recorded, designed, and mixed project!