Issue link: https://digital.copcomm.com/i/1500716
C A S Q U A R T E R L Y I S U M M E R 2 0 2 3 49 ANDREW GARRETT LANGE CAS – Re-recording Mixer Do you come from a musical background? I've been a musician since I was 10 years old. Singing, playing guitar, piano, and even some clarinet. I was in an a cappella group in college which later opened a fun door to sing professionally on a cruise ship for a brief time. Once I had my footing in LA, I started writing and producing my own music, releasing several albums over the years, as well as producing songs for other artists. My focus has shifted a bit since the pandemic, but I still make music when I find the time. How did you get into re-recording mixing? I grew up in East Grand Rapids, Michigan, and went to Michigan State University (MSU) where I studied audio and video production. I was so lucky to get such an amazing professor of audio at MSU, Gary Reid. He encouraged me to make the big move to Los Angeles and connected me with a number of his former students already working in the business. Re-recording mixer Patrick Cyccone was one of the alums kind enough to let me shadow the first summer after I graduated. Fast-forward a few years later, we were mixing together, and I was off to the races! I'm so grateful to Reid and Patrick for their mentorship. What's your session layout look like for this show? For FX, I use VCA groups and like to spread things out. I had five groups of sound effects, two groups of walla, and four groups of backgrounds. Each VCA group has 12 to 16 tracks. Foley was usually around eight tracks of footsteps and nine props. What processors are you using? For plugins, I use FabFilter's Pro-Q3 EQ and Pro-C2 compressor. For reverbs, I use a variety for different purposes. Audio Ease Altiverb, iZotope Stratus 3D, Audio Ease Indoor, LiquidSonics Cinematic Rooms, and FabFilter Pro-R. I use Cargo Cult Slapper and Sound Toys Tremolator for delay and other effects. I also use iZotope Neutron 2 and Oxford Transmod for transient shaping. Can you share a fun or sonically challenging scene from this episode? The scene when they're playing Oliver's Son of Sam murder party game was challenging. Penny had some great 1970's score to mix around VO. I remember having a lot of fun accenting the action on screen with all the big "light switch" sound effects and some big body falls. There was some interesting sound design "murder sounds" sprinkled in as well. It all made for a great sequence! Anyone you'd like to thank? This was not only a mega-talented crew, but also the type of extremely kind and generous crew that you want on every project. A big thank you to each of them, and especially to our sound supervisor, Mathew Waters, co-super Danika Wikke, and mix tech Josh Crisci. Re-recording mixer Andrew Garrett Lange CAS L-R: Josh Crisci (mix technician), Andy Lange CAS (re-recording mixer), Danika Wikke (co-supervising sound editor), Payton Koch (picture editor), Penny Harold CAS (re-recording mixer), Shelly Westerman (picture editor), John Hoffman (creator/showrunner), Will Harp (mix technician), and Nick Pavonetti (producer).