Issue link: https://digital.copcomm.com/i/1491103
34 S P R I N G 2 0 2 3 I C A S Q U A R T E R L Y Yes. We had great percussionists both in New York and in LA. The percussion element was handled really well, and Gustavo was intimately connected with that. It was a really positive group effort in terms of the musical team and the sound team, and the film production people couldn't have been better, really. Was pitch correction involved with any of the singers? I wouldn't say no, but it's a normal technique if it's done tastefully, and our approach was to never overdo it. If push came to shove and it didn't sound good, we wouldn't do it. We would either find a different take or leave it be. It's like editorial. You're going to cut between takes. It's not unusual, it's not magic. It's just what we do every day. We had the performances from the pre-records, we had the performances off the set, and it all had to get intermingled and made musical. And that's again where David Channing came in to his own. Did you end up mixing in a home studio at all during the pandemic? No, I don't, ever. I don't mix at home. At all. Period. I have gear at home to listen on, so if something comes in that I need to listen to or evaluate, I have a couple of good systems. I'm just not in favor of having the home studio where you go down in your pajamas and slippers and mix. I don't want to do that. I'm assuming you use plugin reverbs. Is that correct? We do. It took a long time for the plugin reverbs to sound good enough, so we [stayed with] hardware reverbs, and we still do. In Boston, we use our hardware reverbs for this. We use a Lexicon 960 and a Bricasti, and some people like the TC Electronic 6000. Conductor Gustavo Dudamel, choreographer Justin Peck, and director Steven Spielberg.