Recording The Score of Finding Dory - ProSoundNetwork.com

Recording The Score of Finding Dory

Independent engineer and scoring mixer Tommy Vicari CAS—a two-time Grammy and six-time Emmy winner—used Royer Labs ribbon mics and Mojave Audio condenser mics for Pixar’s current 3D animated film, Finding Dory, the new sequel to Finding Nemo.
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Los Angeles, CA (June 23, 2016)—Independent engineer and scoring mixer Tommy Vicari CAS—a two-time Grammy and six-time Emmy winner—used Royer Labs ribbon mics and Mojave Audio condenser mics for Pixar’s current 3D animated film, Finding Dory, the new sequel to Finding Nemo.

For Finding Dory, Vicari reports using Royer’s R-121 mono ribbon and SF-24 stereo active ribbon microphones in conjunction with the Mojave Audio MA-300, MA-100, and MA-101fet condenser mics.

“The Royer R-121, SF-24, and the Mojave MA-300 were used extensively throughout the pre-recording process, which took place at composer Thomas Newman’s Deep Sleep studio,” Vicari reports. “The remaining recordings were captured at the Newman Scoring Stage in LA and the Streisand Scoring Stage in Culver City, CA with the tracks ultimately being mixed at the Village in Santa Monica. During the various sessions, I used a combination of the Royer SF-24 and the Mojave MA-100 on the piano and for the percussion, we captured those performances using the Royer SF-24 along with Mojave MA-101fets. The Royer R-121 was used to record the solo violin.”

According to Vicari, the orchestra recording was a complex affair. “The orchestra was recorded at Fox and Sony by Armin Steiner,” Vicari explained. “Because of the complex nature of this score, the orchestra was the last stage of this process. The merging of pre-record, environmental pads, rhythm loops, live percussion, electric wind instruments, accompanying string instruments such as dulcimers, Tahitian ukulele, banjo, plus bowed and electric bass was all captured first. After recording all of this information, we recorded the orchestra with Armin, and then we combined all these elements to create Thomas Newman’s totally unique score.”

As to why he chose the mics, Vicari noted, “The Royer R-121 is very capable when it comes to capturing the nuances of string and other instruments. The mic captures the instrument’s subtleties very well. Both Royer and Mojave microphones are a permanent part of my recording equipment. I use them on every session I do! Orchestras, big band, pop music—everywhere.”

Royer Labs
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Mojave Audio
www.mojaveaudio.com