Post Magazine

July 2014

Issue link:

Contents of this Issue


Page 20 of 51 19 POST JULY 2014 IN THE MIX tion sound mixer, was responsible for recording the dialogue and the vocals when they were singing. Tim Boot was in charge of recording the band. So this main thing is all about separation and control once it gets to us. That's what's kind of our concern. And they did every- thing they could to have microphones on each of the actors and to mic all of the instruments separately [DPA's d:vote 4099 instrument microphones and d:screet 4061 omnidirectional miniature microphones] so that we would have the ultimate control of it once we got it. "Along with the accuracy and reality of the music in the location, in the venues, there's also the dramatic use of the music for telling the story. So, in reality, you might be hearing all of the vocals equally or all of the music equally, but there were times in the movie where we might want to feature one vocalists over another, or one instrument over another, so that was a concern and they did a great job keeping separation for us so we would have that option." Are you aware of any special techniques that Tim Boot used during the recording process? RUDLOFF: "Again, we're talking about accuracy. I mean the prop department was great about bringing the actual microphones from that period to the set. The only problem with it is, that in all reality, recording studios used decent microphones back then, but with live venues, the mics were pretty poor. So [Tim] needed to have the appearance of these pe- riod accurate mics being there on the set but he needed to be able to record it in better quality. So he had his tricks up his sleave in order to accomplish that." Once the footage got into post, I'm curious if you used the kinds of tools often used today for sound editing/mixing, especially after your earlier comments about trying to be 'period proper?' RUDLOFF: "We absolutely used them — that is what our work tools are in this day and age. But our goal was to not over produce or use something that would then make the sound totally different from what the expectations were of that period. And it's not an impossibil- ity. We were careful with how the tools were used. Without the tools we have, the digital aspects and such, I don't think honestly we could have accomplished what we did. "Also, we were more focused on matching the venue they were singing in. PHOTO: BOB BERESH Jersey Boys' audio post team (L to R) John Reitz, Alan Murray and Gregg Rudloff

Articles in this issue

Links on this page

Archives of this issue

view archives of Post Magazine - July 2014