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November 2015

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RIGHT ON CUE 38 POST NOVEMBER 2015 fine-tuned Foley team can get through roughly 400 cues in a day. That pace requires a flexible setup and clear communication. But speed isn't everything; there's the quality of the cues to consider — getting that right sound. So how do Foley teams balance efficiency and quality? Foley mixers John Sanacore, Matt Haasch, Ryan Collison and David Jobe share the details of their favorite miking techniques and setups. They are joined by sound supervisor Jeremy Peirson to discuss important factors that drive workflow efficiency on the Foley stage. PRIDE AND PREJUDICE AND ZOMBIES FOLEY MIXER MATT HAASCH Tucked away in the quiet town of Blooming Grove, NY, is Stepping Stone Foley (, owned by Foley artist Jay Peck. The 1,000-square-foot stone structure features vaulted ceilings (that provide significant air volume) and an open floor plan, with the Foley mixer stationed in a loft that is open to the rest of the environment. "The recordist, either me or Gavin Hecker, is actually in the space with Jay [Peck] as he's performing the Foley. There is no control room," says Foley mixer Matt Haasch, who's been re- cording Peck's Foley performances since their days together at the now-defunct Sound One. Peck and Haasch, who have teamed up on Foley for True Detective, Blue Jasmine and the upcoming film Pride and Prejudice and Zombies, use a Manley Dual Mono mic pre-amp paired with a Lynx Hilo AD/DA Converter for their two-mic recording setup. They chose a Neumann KMR 81 for close-miking and an AKG C414 for the room mic. The two signals are mixed to one mono track while they're recorded into Pro Tools 10. "There is a blend between those two mics, given the requirement of the shot," says Haasch. For example, a tight shot will have more of the close-up mic, while a wide shot, or a shot that takes place on a hard surface, will have more of the room mic. The room mic at Stepping Stone Foley is located up in the loft area near the recordist. Foley artist Peck's location in the space, whether he's downstairs or up in the loft as well, impacts where the room mic is positioned. It can be set up to capture the sound as it's bounc- ing off the ceiling, or positioned in the opposite corner of the space, or posi- tioned downward over Peck's head. "It all depends on the perspective of the scene. A default setting is that we will take a bounce off the ceiling, unless we want to BY JENNIFER WALDEN Foley mixers talk tactics for quickly capturing quality sounds A Right on Cue

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