Issue link: https://digital.copcomm.com/i/987065
C A S Q U A R T E R L Y S P R I N G 2 0 1 8 47 occasionally for an EQ match when there are different sounding microphones between ADR and production. The setup is different this year than last year, but I was mixing with Rupert Neve Design's Portico II Channel Strip at the end of my chain, which is a beautiful warm-sounding analog Neve Design device. And other than that, it's not too different from what probably most people in town are using. TB: A lot more nonlinear, too, which actually buys you some time. I have to spend some time de-clicking and de-noising and working on the dialogue, and now I can go offline and tweak and do some housekeeping with the tracks and then jump back on and be a little further ahead. Is two days about average for a Silicon Valley episode mix? EP: We basically mix it the first day. Playback for the picture editor at the end of day one, do the fixes for them, the co-producer and us the second morning. Then Mike Judge and Alec Berg come in and we play back for them. We spend the rest of that afternoon doing their notes and then there's a final playback for HBO at the end of that day. What do you like to do in your non-work time? EP: I play guitar. I like to hike. Man, there are so many things. I like to get outside. TB: Anywhere that's not a dark room with people sitting behind you! EP: Bam, what he said! You got to have sunshine. I think we're both that way! Is there anything else you would like to mention—that you want the readers to hear? EP: "Thank you very much to the CAS! We're seriously grateful." Todd, is there anything you want to add? TB: As an effects mixer, you want to work on really busy, huge shoot-'em-up sort of projects. This has been a great exercise in minimalism and keeping things simple and to the point, there's always something to be learned. EP: Finesse. TB: It really is true what they say, that comedies are pretty hard. And it's amazing how many different ways you can play something and then to sit and hear Alec or Mike just make a decision on something and then you think, "Wow, incredible!" EP: I wish I'd said this when we accepted our award: I am hyper-inspired by all of the other nominees in all the categories. These are people that have been raising the bar for years and some of them are friends, some of them grew up with us and all of them are doing excellent work. There is an inspirational aspect to it and there is a competitive edge to it and both are healthy. It makes us work harder. TB: I would say, too—a shout out to Matt Taylor and his crew because when the tracks come in great shape, it just gives you that much more time to play and you're not doing damage control. You're already there. EP: We should also mention Sean Heissinger and David Barbee, who are respectively, the dialogue and effect editors. TB: And Joe Deveau, music. EP: Yes, our music editor who is—man, an incredible editor and our composer. Jeff Cardoni. TB: A machine. EP: Joe has to cut stuff on the fly all the time. For example, "I don't like the way this cue ends here, I wish it went darker here." Composing notes … He does them live on the stage and a dozen times an episode probably. He's ridiculously talented. When you have a show that has this short of a [mixing] turnaround, it's huge because we couldn't get it done otherwise. We're big fans of theirs. So yes, they're really a talented bunch and did a great job and we're lucky. They made our lives easier.