Professional Sound - April 2017 - Page 32

“Pro Tools HDX is powerful enough for me to do everything I need to do. At the mo- ment, in [the show I’m working on], I probably have 200 faders, including 16 different mixes or stems I have to print. I have lots of plug-in and volume automation and I can play the session and print all my mixes at the same time without any problems.” In between the mix theatre and second- ary control room sits the recording studio. If Rissin is busy mixing in the main control room, another engineer can be recording a voice- over or ADR from the second control room – which is also wired to act as an overflow or iso booth for music recording sessions, complete with a 16-channel headphone mix. “A lot of people have this melancholy feeling about tape,” Rissin offers, now talking music. “There are some things I find attractive about tape that really I love, but to be honest, I’ve embraced the digital format. Just the lack of noise and the not having to worry about setting up and aligning a tape machine or not having to worry about why one track sounds noisy or a capacitor blew on one of the other tracks. Digital solves those problems.” Although Rissin has access to many of the latest plug-ins, he believes there’s an in- herent danger in having too many options. “I could look under my compressor list and I could have 50 different compressors to choose from,” he says. “In the end, I’ve returned to using the same two or three com- pressors and EQs. When I think of what I used to do with music, especially when I worked on a Neve or a Trident, I had one EQ per channel and that’s what you used for all the tracks. “I remember working in one Vancouver studio where I had a pair of Pultec outboard equalizers. I’d overdub a lot of stuff through those, adding air on top or adding some bottom. Now I have software emulations of some of that classic hardware. It gives me the ability to put it on whatever tracks I want in the mix. Modern plug-ins emulate those things really well.” Throughout his colourful career, Rissin has received a number of awards and nomi- nations for his musical recordings. He has also been nominated for several Canadian Screen Awards, including one that he ended up tak- ing home. When asked how mixing for film and television differs from music recording, Rissin says it’s a lot more technical. “There are a lot more deliverable de- mands. For each version of the show I’m 32 • PROFESSIONAL SOUND working on at the moment, I have 19 different deliverables: the mix in 5.1, the mix in stereo, mix minus narration in 5.1, mix minus narra- tion in stereo. Every possible stem breakout you could imagine, dipped and undipped for narration. There are all these different variations including three different broadcast versions and they all need different outputs. It gives you an idea of the amount of time I actually spend mixing as opposed to prepping for or creating all these different versions for a documentary or a series. “I would guess that probably half the time is devoted to mixing and half of it is re-versioning and handling extra outputs. For a documentary, I’ll build my mixer or work off of a template I’ve built. I’ll look at the deliver- ables to see where I have to end up. Then I’ll figure out the bussing I need to b Ѽ)ѡ́́܁͕́́ͥ$)ѕݥѠѼ̻t)́ȁ5%ٽȰЁ́хЁ)5AɽՍѥM٥̸!݅̀܁啅)ɅՅѕ͍مѼ)ձѥ啔!եݽɭ)́݅ɽѥѼѽȁ)ȁхեѕ̸]ѡЁ٥ѕ)5ѽ́ɅЁ5)ѡյѼѡхݽɱѕȁͥ)啅́Ё5ЁѡѼ)ѥɥЁյх䁅)ɍɽՍѥ͔ѡ)Ѐ啅́ѥ́ɍ̸)!ɕɹѼ5́ɕѽȁ)Ʌѥ́ذݡɔѡ)͍ձѥ̸%аѡ)չѼɍ͔ѡеɽՍѥ)Ё5ɽ]幔Mѡɥ)չȸ5%ٽȁͼɍͥ)ѡɍ٥ͥɅѥ̰ݡ)݅́5éɝЁѥѽȁЁѡѥ)ѡӊé܁Ʌх݅́ɸ쁥Ё݅)ѕɅѡɝɅѥϊd)ɍ٥ͥ5éЁ͕٥̸)Q́ѡȁɕɽ́)Ʌ聍ɕѥѡȁݸɍѕ)٥ͥɽ̸)1ѕ䰁ѡɽՍ́ѕ٥͕ͥɥ́)յхɥ́ɕեɔѡЁѡȁɽɅ́)ᕐԸİͼɅх́)ȁѡ+qѡ՝ݔɽՍѕ٥ͥ)͕ɥ́յхɥ̰ȁɔͥ)́ɍ̳tхѕ́5%ٽȸqݔɕє)ͽ䁍͍́ͽɕͥ)ٕѥͥȁᅵݗeٕѥ͔)ѕϊdչ́ȁ͕ϊdչ́ɽ)ѡչ䰁Ѥɥɥ٥̰)ͅݽɬɍ̃Lɽ́ѡЁɕ)ٔ+q%ӊéͼɕ䁉ɥЁ܁͔)ѽȁݸɵݽɬݥѠȴ)̰ݗeɔݽɭЁݥѠ܁ѕ)٥͕ͥɥ̸Ёѡаݗeɔݽɭ)ݥѠɅѥ́ɽЁݡɔѡeɔ)ɽՍȁͽ̸]ɔ)她ѡեѕ́ѡ)ݗeɔѡȁɕѥͽչ)ѥͽչ᥹LٕѡɥЁѼ)ѡɽѕȻt)QՑݥЁѡɔ)ѽˊéՑѡȁIͥȁѡ)ȁݥЁѡՑȁͽ)́ݥ͕ЁѼѡȁѽ́)ѡɕɹѼѡՑȁѡ)ᅵѡЁݽɭܰIͥ)̰́ѡQX͕ɥ́Aȁ ȁQݸݡ)ѡeɔݽɭɥЁܸ+q'eՔѥ᥹))ѡѡȁѽȰ́ͽչ)̸'eٔͥѕєѡЁ$݅Ё)Ѽ͔͔ӊé͕ɥ́ݽɭ)Ё啅ȁ́ݕ!́܁$݅Ёѡ)ٕɕeЁɑͼѡЁӊe)́䁅́ͥݡ'eѥѡ)é͕ͥ́Ѽ͕ͥ$)'eɕѼхЁ᥹t+qmA=A1t)I)!=9MQ1d)EU%Q)5i)Q!P10=)Q!%La%MQL)%8M510) 9QIt