LOS ANGELES, Calif.—Sonovo started in Norway in 2003 as a music mastering studio and later branched out into post production and music production, primarily for the surround and immersive audio market. After moving to Los Angeles in 2018 to establish an additional studio, Sonovo now serves clients on both sides of the Atlantic and around the world, including Norwegian art-rock band Gazpacho and their recent “Fireworking at St. Croix” performance.
With the live stream complete and the recording slated for release this fall, I was tasked with creating 5.1 surround versions of the stereo tracks for a Blu-ray of the live concert footage, as well as delivering LP versions, streaming files and CD. Additionally, I performed dialogue clean-up for the interviews and mixed the bonus material.
IN SYNC WITH DAVINCI
Having implemented DaVinci Resolve Studio and working with its Fairlight audio post page and a full suite of Fairlight panels, I completed editing, final mixing and delivery of the project, working from the stereo masters and stems provided by the band.
DaVinci Resolve Studio’s busses allow multiple delivery targets on the same timeline, all in sync and with metering to match levels (stereo and 5.1). Having the stereo versions on their own bus in DaVinci Resolve Studio provided an easy reference to match the timing, EQ and loudness, as well as preserve the feeling of the originals, while keeping everything in sync with the picture from the videographer.
Having separate timelines for different parts of the project, including dialogue edit, final dialogue mix, Blu-ray music mixes, bonus content mixes, etc., helped keep the project structured and allowed me to try different approaches and settings, all easily accessible up to final approval.
Additionally, I appreciated having the ability to crossfade between the track layers, as well as having clip- and track-based effects, which allowed global and individual adjustments to get everything to sit right.
I also tackled dialogue editing and clean-up of the bonus material, which included interviews of the band and the cover art artist, as well as alternate mixes of some of the songs. I matched ambiance and EQ and brought in room tone to provide a consistent experience across the extra content.
A TOUCH OF A BUTTON
This project’s workflow was made so much easier with the Fairlight Desktop Audio Editor. With one button press I could accomplish complex tasks that would require a lot of mousing around otherwise, saving valuable time. For example, flying clips around and performing slips, trims and adding room tone to a range was easy and effective. The jog wheel was key here, and the programmable macros allowed me to set up multistep workflows that could be initiated at the touch of a button.
Mixing is more intuitive and alive when using a console with faders, allowing me to “play” the mix as it progresses and capture it via automation. I think it engages my brain differently when working with a control surface compared to using a mouse and keyboard. Having knobs and buttons to grab and dial while the mix is playing means I’m not interrupting my flow, which allows greater focus on the creative aspects. It might sound like a trivial improvement, but it is significant, especially when working with larger projects with higher track and bus counts.
For additional information, contact Blackmagic Design at 408-954-0500 or visit www.blackmagicdesign.com.
