Mexico City, MX (April 12, 2020)—Re-recording mixer Jaime Baksht, a two-time BAFTA Award nominee who is Oscar-nominated this year for Best Sound for his work on Sound of Metal, has added an SSL 2+ two-channel audio interface for critical listening and ADR applications at Astro LX studios in Mexico.
Baksht, who mixes on an SSL C300 at Astro LX, added the SSL 2+ into his workflow starting with Sound of Metal. “Before we sent the stereo streaming mixes through to the producer, we checked all of them on our SSL 2+ interface on our headphones — this is an amazing box for this,” he explains. While Baksht uses a pair of TAD monitors during mixdown, the SSL 2+ affords additional assurance that mixes will translate in stereo streaming applications.
In addition to Baksht, the team on Sound of Metal included re-recording mixer and dialogue editor Michelle Couttolenc, sound designer Nicolas Becker and composer and co-screenwriter Abraham Marder. The film was the team’s primary focus during 2020.
“The SSL 2+ has a very nice flat frequency response and is wonderful for critical listening,” he says. “If you are going to send files across the internet, you can really hear what you are doing by listening through this interface.” Baksht says that as soon as he finishes a mix of a movie soundtrack, he sends the mix to both himself and the composer, so it can have a final QC.
Commenting on the sound of the SSL 2+, Baksht highlights the detailed soundstage. “When I listen to things on mobile devices, the sound is often blurry, and low frequencies in particular can be a little muddy. But as soon as I plug the SSL in, the soundstage becomes bigger and wider. The low end becomes very tight and punchy, and high frequencies become clean and silky. This soundstage depth and level of detail informs my streaming stereo mix decisions. I will take this back to the mix and make any needed adjustments.”
Couttolenc uses the device to monitor and QC film dialog during dialogue edition, focusing on the actors’ voices, says Baksht. “She is listening for noise, intelligibility, and EQ on the voice to make sure everything is clear before we start the 5.1, 7.1, or Dolby Atmos mix in the stage.”
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