Issue link: https://digital.copcomm.com/i/1469840
52 S U M M E R 2 0 2 2 I C A S Q U A R T E R L Y the picture footage and the audio recordings. Where at all possible, the Nagra recordings were sync'd with the two 16mm cameras that were not crystal locked—so it all had to be done twice, effectively, with the Nagra tapes lined up to each camera independently. By the time we started, a great deal of this absolute essential work had been completed. Remember, there were no sync claps during the studio days, only when they got to the roof. I think it's very difficult for engineers who have always worked with timecode to grasp what a tedious and technically difficult task that is. What type of mics and how many were used to record the original Let It Be doc? Park Road Post Team: This is actually a question for Peter Sutton—the original recordist—alas, he passed away in 2008. Peter S. had mics up at Twickenham for the Nagra recordings along with Glyn Johns' 8-track recordings at Savile Row. What mics they were, we can only speculate— some with more knowledge than others! Since Peter Sutton is no longer with us, would you like to share your thoughts regarding his work on Let It Be? Park Road Post Team: The soundtrack would not have been possible without him. It would have been a totally different experience for us putting it all together. Peter S. was tasked with deciding what to record, when to record, when not to record, what to capture, and how to capture it—under the most trying conditions. This was the biggest band in history at a time when they already had legendary status. How's that for pressure?! No retakes, no ADR, no "can we have that conversation again please? My mic wasn't working" … it was by the seat of his pants. No wonder he won the Oscar for The Empire Strikes Back. What input did Paul McCartney and Ringo Starr bring? Did the estates of George Harrison and John Lennon provide further insight? Park Road Post Team: Paul, Ringo, Olivia, Yoko, and Sean [Lennon] were all incredibly supportive of the project from start to finish. Peter shared bits and pieces with them along the way so they were part of the process and saw its evolution. Their teams were fantastically generous with material. Whenever we put a call-out for additional footage, audio, or information, they always came through. surrounded by a team of talented pros, though—it was inspiring to see them constantly adapting to new challenges. I knew the final mix was going to be in good hands. How did you go about file searching and organizing with such a vast amount of material? Sam: Most of this was from 8-track one-ich analog tapes [that were] transferred into Pro Tools. We sent stems to New Zealand for the WingNut team to work into their film mix. Park Road Post Team: A great part of the construction of the show was done before we started. This entailed a number of people painstakingly piecing together the jigsaw that was Re-recording mixer Brent Burge Production mixer Peter Sutton (dec.)