Issue link: https://digital.copcomm.com/i/757053
42 F A L L 2 0 1 6 C A S Q U A R T E R L Y Charles Mead I Recorder: Sound Devices 688 I Mixer: CL-12 James DeVotre I Recorder: Sound Devices 688 I Mixer: CL-12 Alaia Blas Kisic I Recorder: Boom Recorder, Sound Devices 788 I Mixer: Mackie Onyx 1620 Fernando Muga CAS I Recorder: Sound Devices 788, Sound Devices 633 I Mixer: Sound Devices CL-9 Thomas Cassetta I Recorder: Zaxcom Nomad 12 I Mixer: Zaxcom Oasis Chris Howland CAS I Recorder: Boom Recorder, Sound Devices 688, Sound Devices 633 I Mixer: Mackie Onyx 1620, Sound Devices CL-12 Brian Patrick Curley I Recorder: Sound Devices 688, Sound Devices 664 I Mixer: Sound Devices CL-12 Alaia Daniel Powell I Recorder/Mixer: Zoom F8 Landon Orsillo I Recorder: Sound Devices 688 Master Classes In addition, master classes were offered from Steinberg on new solutions offered by their editing and mixing softwhere Nuendo. Auro-3D held a presentation highlighting the uses of object-based audio and the sonic differences between channel-based and object-based audio. Sponsor Programs Yamaha/Steinberg held a showcase of their all-in-one plat- form Nuage, (with integrated Nuendo), and JBL Professional had a display of their 7 Series Master Reference Monitors set up for small room immersive audio production. But the stand out event was by Avid in the Cary Grant Theatre ... The Sound of Stranger Things Sponsored by Avid Moderated by Ozzie Sutherland, Pro Audio Solutions Specialist for Avid, with panelists, sound designer Craig Henighan, re-recording mixer Adam Jenkins, re-recording mixer Joe Bartlett, supervising sound editor Brad North, music editor David Klotz, and sound FX editor Jordan Wilby. This was an in-depth discussion on the inspirations and creation of the sound of Stranger Things. It included clips of the show, isolated stem playback, and Pro Tools sound design sessions. It was really incredible to hear Craig talk about his inspiration for the creatures (sea lions!!!) and the lightbulb sound design—and then see how those inspirations were given breath through the technology. It was also interesting to hear about how the music and sound design were often indistin- guishable and needed to co-exist and meld successfully. As the show used early '80s synths, there were some chal- lenges. Music editor David Klotz explained that the tech- nology of this era did not have patch recall. Oftentimes, a version of music was sent over and notes were received, but recalling that exact sound was impossible. So, the music edi- tor had to step in in a more in-depth fashion at times. But beyond the challenge of '80s synth technology, everything was edited, pre-dubbed, and mixed using Pro Tools and an S6, making communication and manipulation of elements between the members of the sound team easy. It was an incredibly interactive visual and auditory experience. Sound Reel Showcase To conclude this event, members were led into the Dolby Atmos and Auro-3D equipped William Holden Theatre to enjoy clips of not-yet-released films and award contenders, including Hacksaw Ridge, Deepwater Horizon, La La Land, The Magificent Seven, and many others. This event is an incredible event with amazing networking and education benefits. Thanks to all of our co-sponsors and presenters for making it a wonderful experience! Please con- sider joining us next year. CAS members do receive special pricing! • The Parade of Sound Carts participants