mprice

Dan McIntosh informed me about the post so I thought I’d come on to respond. Oh yes, multiple iso tracks were definitely not an option and mixing multiple mics down to one or two tracks was always challenging and tricky considering there were no isos for post to go to. The expense of shooting 35mm definitely necessitated multiple rehearsals before rolling so that was a good thing that digital destroyed with repeated resets while never cutting. It’s one of the joys of The Marvelous Mrs. Maisel that we rehearse a bunch and almost always take the time to get it right.

Well, I guess I need to defend my honor here! Jeff is of course correct. For the most part it was recorded traditionally onto a stereo time code Nagra, although by the final season my Deva 2 was my primary recorder with the Nagra as backup. I primarily used Neumann KMR-81s and 82s with Schoeps MK41s whenever I could. And also a lot of wires so definitely not 99% boom although massive amounts of classic films were recorded with one mic only, usually a Sennheiser 416. (The CAS podcasts are a terrific listen for some great stories.) My wires were Audio, Ltd. 2000s which served me well for over 20 years. My lavs were mostly Sonotrims, which I still love and use all the time. They were great on all the Polo style shirts the boys wore a lot. Were COS-11s around in 97? But, regarding ADR, it was very rare that any dialogue was replaced, mostly because David Chase hated looping as did most of the cast. There was, however, a ton of dialogue added in Post, mostly placed on someone’s back or off screen. They also replaced a lot of the cursing but that was really after the show was syndicated. Below is proof of wiring!

Blunt is fine. I will say that there may have been some intentional futzing for some of the standup bits with the old mics., but certainly not for the regular dialogue.

Ahem. I feel like should pipe in here. I’m not sure what you’re listening to but I can pretty much guarantee there is no distortion in the tracks that we delivered. Believe me, there is no way that the final mix would’ve gone out like that. I sat in Ron Bochar’s (our Re-recording Mixer) final mix at C5 a few times and I can reliably say that there were a lot of people in there with very good ears. And, for the record, my wireless for S2 were my (I now call them vintage but have since gone to all Zaxcom for S3) Audio, Ltd. 2000s, which always sounded as good as they get. Just my 2 cents! I’m glad you all are watching. Season 3 will be even bigger.

I seem to remember someone modding their Mix-12 with either a fluorescent or LED mini strip in order to backlight the built in keyboard. What did you use? Thanks, Mathew Price