Microphones in "Wicked"

Simon Hayes: "Our Set is also a Recording Studio"

Microphones in "Wicked"

Simon Hayes: "Our Set is also a Recording Studio"

Simon Hayes is a production sound mixer known for his excellence in capturing top-quality production audio. With an Academy Award (Oscar) for Best Sound for Les Misérables (2012), his commitment to recording performances in their purest form is evident in every project he undertakes. His career spans decades, making him one of the most respected sound mixers in the film industry. 

Simon has contributed his expertise to over 40 films, including high-profile productions such as Guardians of the Galaxy (2014), King Arthur: Legend of the Sword (2017) and James Bond: No Time to Die (2021). His approach to live vocal recording in Les Misérables set new industry standards, earning him not only an Academy Award but also a BAFTA Award for Best Sound. 
 
Beyond his work on set, Simon is deeply committed to mentoring the next generation of sound professionals. He actively shares his knowledge through interviews, industry panels, and on social media, ensuring that aspiring production sound mixers and boom operators have access to invaluable insights from his extensive experience. 

In Wicked, Simon once again embraced a live recording approach, leveraging modern microphone technology to achieve the best possible sonic result. 

The goal for Simon was “... to create such a great production soundtrack that I don’t have to re-record anything in post”. 

His dedication to capturing authentic performances in real time continues to push the boundaries of cinematic sound. 

SCHOEPS Microphones Used in Wicked 

 

The Digital Workflow: CMD 42​​​​​​​ and a Fully Digital Signal Chain 

Simons’ approach to capturing sound in Wicked relied heavily on Schoeps microphones. 
To maintain absolute clarity, he implemented a fully digital signal chain, utilizing the CMD 42 digital microphone preamp to eliminate unnecessary analog-to-digital conversions and convert to digital as early as possible. This setup ensured that the original audio signal remained pure throughout the recording process, preserving every nuance of the performance. 
The CMD 42 proved to be an invaluable tool in achieving consistency and tonal integrity across all recorded material. Its large dynamic range allowed for the seamless capture of the actors’ speaking and singing voices both. 
 
”Wicked is the first movie where I can honestly say we stayed in the digital domain on the booms all the way through.” 

 

MK 41 and KMIT: Versatility in a Demanding Production 

Along with the CMD 42, Simon used the MK 41 capsule to capture rich, natural dialogue, particularly in controlled environments where a supercardioid polar pattern was preferred. The KMIT modular shotgun capsule provided additional flexibility, allowing for greater directivity and adaptation to various filming conditions without compromising sound quality. 
Simon considers the MK 41, paired with either an analog or digital Colette amplifier, his preferred microphone for boom operation. He has used this capsule exclusively for every interior boom dialogue recording since 1997. 

As Simon explains, ”I don’t want a microphone that ‘sounds like a Sennheiser’ or ‘sounds like a DPA’ or ‘sounds like a Schoeps’; I want a microphone that sounds like the actor that’s speaking. I want it to be as transparent and as neutral as possible, and it just so happens that in my opinion it’s Schoeps.” 

 

The SuperCMIT Digital Shotgun Microphone 

In two scenarios Simon also relied on another microphone: the SuperCMIT. It was used either on expansive outdoor sets, where reverberation can be a major challenge, or when loud special effects equipment such as wind machines were in operation. This microphone, with its two capsules and digital signal processing, offers directivity and isolation beyond what other shotgun microphones can do. 
The possibility to output two signals--the unprocessed CMIT signal as well as the processed one--add another layer of flexibility on set and for post.

Preference for Boom Microphones over Lavalier Microphones 

Hayes has long championed the use of boom microphones over lavalier microphones whenever possible. His reasoning is clear: boom microphones provide a fuller, more natural tone without the interference of costume rustling or the frequency limitations of lavalier microphones. By prioritizing boom placement, he ensures that performances retain their full dynamic range and emotional depth. 

However, when body-worn microphones were absolutely necessary, he seamlessly integrated them into his workflow, ensuring a balance between practicality and sonic integrity. 

 

Wireless Transmitters and Recording Equipment 

To complement his digital microphone choices, Hayes employed the Sound Devices A20-TX and Zaxcom TRX743 as wireless transmitters—but only when a wireless boom was necessary. Otherwise, he prefers to stay wired. 

For recording, Simon used a rig of recorders consisting of the Zaxcom Deva 24, linked via AES3 to the Sound Devices Scorpio, ensuring a clean, interference-free signal path. 
The combination of SCHOEPS microphones with these industry-leading recording tools resulted in a highly reliable and sonically superior setup, supporting the complex demands of such a large-scale musical production. 

Conclusion 

Simon Hayes’ approach to sound in Wicked exemplifies his commitment to capturing performances with the highest level of authenticity. 

By employing SCHOEPS microphones including the SuperCMIT, CMD 42, MK 41 and KMIT, he was able to create a fully digital workflow that preserved every detail of the actors’ voices. Combined with state-of-the-art wireless transmitting and recording equipment, he ensured that the film’s soundtrack remained as immersive and lifelike as possible. 

In Wicked, as in his previous work, Hayes has once again set a new benchmark for production sound in musical filmmaking. 

the featured products

MK 41

MICROPHONE CAPSULE

KMIT

Colette shotgun microphone capsule

CMD 42

digital microphone amplifier

SuperCMIT

Digital Shotgun microphone