I was lucky to work with Nigel Westlake and MSO once again recently, recording and mixing Nigel’s fantastic score for upcoming Robert Connolly feature film “Blueback”. We recorded at Iwaki Auditorium, and completed 15 calls over 5 days of sectional recording. I then immediately went in to the mixing process, working at Moose Mastering, then checking my work at Soundfirm. Delivery was 8-10 5.1 stems per cue.
Control room at ABC – main and backup Pro Tools systems picking up MADI from the SSL
String setup, including 3 perspectives – Decca Tree, Sectional spots, and Desk spots. Antiphonal violins too!
Cello desk, including Royer ribbon option for solos
A secret weapon – My 4 channels of Pueblo Audio JR preamps – amplifying the 4x Decca Tree M149’s
Composer Nigel Westlake and Producer Jessica Wells, zooming in for the recording sessions.
We recorded harp and piano parts together. Here I used a pair of U89’s and they sounded gorgeous on harp
Piano setup, including Decca tail pair, used for more orchestrally integrated sections, plus 3x Shoeps MK4’s for cues that needed a more cinematic, up-close piano sound
Director Robert Connolly with Eric Bana, catching up with Nigel and Jessica on zoom.
Mixing at Mose. Folders in Pro Tools saved my life on this very track-intensive mix
Nigel checking a mix
Sounfirm – checking how the mixes translated into Atmos (and horn-loaded Meyer Sound speaker system)