How about that artwork? Pretty snazzy huh? Kessi Rilinki is the artist, check her out and The Audio Drama Production Podcast group on Facebook.
And now onto our story.
After driving from Philadelphia to Minneapolis (with a stop in Fremont, Indiana) we have arrived safe and sound on Tuesday, February 19th. After a rest and some much-needed animal corraling it was time to sift through the audio detritus that will eventually make up season 2 of Jarnsaxa Rising.
It was a shame we couldn’t hang out with the cast during the time that we were there but with the readthroughs and the re-writes, there wasn’t time. We had a narrow window to record in due to conflicting schedules with the cast but we did manage to get everything done in a final 12-hour session.
Tech notes here so if this stuff bores you just skip it. I included links in the event of anyone interested in the product and my experience with it in a real-world situation. I’m not getting compensated for anything.
For recording, I opted for the Zoom F8 field recorder along with the FRC-8 controller to give me more flexibility in mixing and control. I ended up using a CAD TRION 6000, CAD GXL 2200, 2 Aston Origins, Sterling Audio ST151 and the trusty Shure SM58. Except for SM58, all the other mics are condensers. To get more level out of the SM58, I ran that through a Cloudlifter CL-1 via the F8’s phantom power.
For the actors, I decided to have a headphone distribution system set up so they can hear themselves. I went cheap and got the Behringer Powerplay which actually did a pretty good job. I brought with me what I had in headphones (2 pairs of Sony MDR 7506’s, Sennheiser HD280, and a pair of KOSS over the ear type. I also made a quick stop at Twin Town Guitars and grabbed some 1/8″ to 1/4″ adaptors just in case.
A little plug for Sony here, if you are looking for bulletproof, great sounding headphones, get the MDR 7506. I have a pair that is over 20 years old the other is 10 and they are user serviceable so you can replace parts.
The recording space was the second floor (attic?) at the home of the director Carin Bratlie Wethern. We kept any room reverb down by utilizing blankets and pillows. I also tried to keep to the “3 to 1” rule to cut down on bleed. I was somewhat successful in this after listening to playbacks and isolating tracks.
If time permits I will occasionally post again. The work is going to be slow and tedious. Then I have to create SFX beds and music cues for 8 episodes so it may take a few months or more to get a decent product.
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