Issue link: https://digital.copcomm.com/i/1469840
C A S Q U A R T E R L Y I S U M M E R 2 0 2 2 29 from early recordings to justify the extra effort," he adds. They had a lot of musical elements recorded in different places. There were instruments recorded in Nashville and New York, a lot of percussion and orchestra for the songs in Los Angeles, and vocals in several cities, including Bogota, Colombia. David supervised most of the remote recordings as well. For this, he would first get a list of equipment available in each studio. He would then choose microphones and preamplifiers and distribute session templates that studios would use. Due to COVID restrictions, they found a way of working together for the recording of vocals. David Boucher CAS and Paul McGrath CAS were in the same room. They took extreme precautions required by the studios due to health protocols. "Imagine you are in a control room in a studio. There's someone at the mixing console, then there's a credenza desk behind, and then there is a plexiglass wall and then there was me!" says David. For this process, he used Zoom to control the recording computer, Audiomovers software to feed the directors, and monitored the signals through headphones while communication went through the studio speakers. Paul was the main operator, he was the one actually touching the hardware. "One problem is that to speak on the talkback mics with the facemasks on, you have to be more conscious of your enunciation and volume to make it clear, so you also end up with a sore throat," recalls David. He adds, "In the end, what I really care about is that I am getting a great-sounding singing vocal or instrument performance, and that requires good communication and good monitoring." One of the things that David struggled with the most was the loneliness of sometimes being the only person in the studio. It is also more exhausting because of the extra tasks to be performed like opening and closing communication feeds, different talkbacks, etc. He believes in collaboration as a path to success, but adaptation is also key—and he adapted well to the circumstances. However, there were positive things from this isolation. He had more time talking to the directors who could drop into a session virtually and contribute to the creative process. He is looking forward to going back to having collaborative sessions in the studio with other team members present. The second booth at the Sonora Studio was used to place the pianist and vocal coach, Sam Kriger, so he could be safe and comfortable. Everyone adapted very well to the situation and were very proactive and collaborative in the creative process, which had to happen in a part-remote, part in-person session. Lin-Manuel Miranda, original songs composer, was remotely supervising and contributing to the vocal recording sessions from New York. "We Don't Talk About Bruno" is one of the flagship songs of the film. It became a hit, charting at the highest ranks worldwide. David recalls that, "When I was mixing 'Bruno,' even in the early stages, I looked at my wife and told her 'this is the hit,' though she felt the hit would be 'Surface Pressure.' It shows how each song talks to people differently according to their experiences and to what each person can relate them to. Most importantly, the film talks to a wide audience." Another highly acclaimed and award nominee song, "Dos Oruguitas," performed by Colombian artist Sebastian Yatra, was recorded by David Boucher CAS at Capitol Studios in California. He was amazed by Sebastian's singing and his endurance. "I got the intimacy I needed for that song, and in two languages!" This song was in Spanish for the domestic and foreign versions within the scenes of the film, with Doc Kane CAS, Paul McGrath CAS, David E. Fluhr CAS, presenter Dolph Lundgren, David Boucher CAS, presenter Tod Maitland CAS, and Alvin Wee. Photo: Alex J. Berliner