Microphones sur "Wicked"

Simon Hayes est un mixeur de production sonore connu pour son excellence dans la captation sonore de qualité supérieure. Oscar du meilleur son pour Les Misérables (2012), son engagement à enregistrer les performances dans leur forme la plus pure est évident dans chaque projet qu'il entreprend. Sa carrière s'étend sur plusieurs décennies, ce qui fait de lui l'un des mixeurs sonores les plus respectés de l'industrie cinématographique.

Simon a mis son expertise au service de plus de 40 films, dont des productions très médiatisées telles que Les Gardiens de la Galaxie (2014), Le Roi Arthur : Legend of the Sword (2017) et James Bond : No Time to Die (2021). Son approche de l'enregistrement vocal en direct dans Les Misérables a établi de nouvelles normes dans l'industrie, lui valant non seulement un Oscar, mais aussi un BAFTA Award pour le meilleur son.

Au-delà de son travail sur les plateaux, Simon est profondément engagé dans le mentorat de la prochaine génération de professionnels du son. Il partage activement ses connaissances par le biais d'interviews, de panels de l'industrie et sur les médias sociaux, en veillant à ce que les mixeurs de son et les perchistes en herbe aient accès à des informations inestimables issues de sa vaste expérience.

Sur Wicked, Simon a de nouveau adopté une approche d'enregistrement en direct, en tirant parti de la technologie moderne des microphones pour obtenir le meilleur résultat sonore possible.

L'objectif de Simon était de "... créer une bande sonore de production tellement bonne que je n'ai pas besoin de réenregistrer quoi que ce soit en post-production".

Son engagement à capturer des performances authentiques en temps réel continue de repousser les limites du son cinématographique.

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.