Issue link: https://digital.copcomm.com/i/1469840
40 S U M M E R 2 0 2 2 I C A S Q U A R T E R L Y David: For Season 2, I was recording on a Zaxcom Deva 5.8 and a Mix-12 mixing desk. Microphone-wise, we tend to use Sennheiser MKH 50's for all the interiors and Schoeps CMIT for all the exteriors. Radio mics are all Lectrosonics. And microphones are all DPA's, usually the 6060. We'll occasionally use Schoeps [MK]41's, as well if we have low ceilings. That's how we do it. And then just moving onto Season 3, I've just upgraded now so I'm working with a Sound Devices Scorpio and a CL-16. Everything else has stayed the same. Excellent. What about at Warner Bros.? Ryan and Sean, what system do you have rocking and rolling there? Ryan: I'm using Pro Tools on an Avid S6 console. I enjoy my EQ's. I like the FabFilter EQ's and, for noise reduction, I use a combination of Waves and the iZotope RX series. Sean: Over on the effects side, my reverbs; I'm a big fan of the Stratus 3D reverbs. It helps to take a lot of the guesswork out of some of the Atmos spreading. They have a warm sound to them. They don't sound like a step ladder on the reverb tails. They just kind of roll, but I keep things pretty simple. I use Pro-Q 3 because it has a spectrum analyzer. So, it's like an RTA the entire time if you have a singing frequency somewhere. You can just go right to it, notch it out. It's a very helpful tool, and they sound good and don't seem to add much phasing. Ryan: I tend to lean on the Altiverbs for the most part, except actually rolling on that. Normally, you would try to strip out and make sure this mic rustling isn't part of it. That's part of setting Roy off on that journey. And so, a little bit of embellishment, but we were able to crank that up, and I thought it was so great to be rolling on that. Ryan: You're absolutely right. We pushed the production recording of that—and what was great is that it sat in the mix, like, perfectly once we pushed it up. It's always one of those pleasurable things that, when you're given something from production, that it just works without having to lean on a fake effect or anything like that. And, in those little moments, it really just adds to the story, and it just really helps it shine. Yeah! David, in another world, you could've let Props [dept.] just use a fake prop lavaliere mic, and you stay far away from it. Tell me how you decided to just let it be real in that scene. David: You're going to love this because I didn't do that bit. That was a second unit that day. That was David Giles. So, all of that studio stuff was him. And I remember talking to him about it, and him mentioning that there was no interest in using the mics at all but he insisted that they put them on, and he used them and left it running so that you did get that fantastic sound of it coming off. So, I will pass on your thanks to him when I see him. David, that brings me to my next topic. Can you talk about any of your equipment package choices?