Issue link: https://digital.copcomm.com/i/1491103
C A S Q U A R T E R L Y I S P R I N G 2 0 2 3 31 Scoring mixer Shawn Murphy Were vocals re-recorded after the shoot, or did they pretty much use the pre-score? We pre-recorded all the vocals, of course, because you have to have control. The initial idea was that there weren't going to be any production vocals used in the final product. But, of course, that went by the boards [because] a lot of the production vocals [recorded on the set] were very good. We actually wound up using a combination of pre-recorded vocals, production vocals, and a few post vocals, but not too many. [In the Fall 2020 CAS Quarterly— available under the "Publications" tab on the CAS website—production sound mixer Tod Maitland CAS discusses capturing production sound for musicals, including West Side Story in his article "Musicals, by the Numbers." It's a very interesting and insightful read. –Ed.] That must have resulted in a good deal of editing—and options! We had a really great editor named David Channing who did all the vocal editing. Brian Chumney from Skywalker was our supervising sound editor and David and Brian worked together. And they did an absolutely impeccable, beautiful job on those vocals. And so, I defy you to tell me what came from where. I'm sure the re-recording mix had a big part of putting it in space, and it was Andy Nelson CAS. Of course, Andy's a great re-recording mixer and he took a lot of time making sure everything matched and the perspectives were right. Joe E. Rand and Ramiro Belgardt were our music editors. It was just a really magical result. We were