PRACTICAL THINKING ON LOCATION

As Amazon launch the much anticipated The Grand Tour' ( sometimes it's even a show about cars ), we are delighted to feature the show's sound supervisor BAFTA- and CONCH-nominated production sound mixer, Russell Edwards. Russell chats to us about his extensive documentary experience, offers some practical tips and tricks for using Rycote gear on location, and explains his plans for the future.

Russell Edwards Production Sound Mixer

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During one particular job, I bumped into Jeremy Clarkson. He invited me to do a show with the rest of the guys, and the rest is history.

So just to provide a little bit of background for readers, can you tell us how you got into this industry? I know you've said that you went to assist Simon Kaye, so when you were younger did you have any sort of inkling that you wanted to get into sound? Was there a turning point? After I left film school, I went to work for John Midgley who eventually won an Oscar for Hugo and Simon Kaye, who had already won Oscars for The Last of the Mohicans & Gandhi; so I was very fortunate in my initial training.

I enjoyed working in studios and on location with a big crew a massive drama and film crew but I think my passion was in documentaries at that age, and I decided to leave to focus on that area. So I worked on documentaries for about 7-8 years and enjoyed it very much. There was a lot of travelling: in fact, the other day I worked out that I've been to 99 countries! (This year, it would have been 100.)

During one particular job, I bumped into Jeremy Clarkson. He invited me to do a show with the rest of the guys, and the rest is history. Then I started to do more light entertainment work. I had a great balance of doing light entertainment with some really nice documentaries feature documentaries as well as specialised ones on specific subjects.

About 5 years ago, I got a bit of a taste for doing drama and sitcom work and spent a hell of a lot of money at Richmond Film Services! I bought lots of things, including the Rycote pistol grip system for my MKH 50, CMITs, etc. So I currently do a bit of drama, a feature film now and then, and the odd documentary.

Bringing it back to Rycote, in my drama work I obviously use pistol grips, baskets and furs, and they haven't let me down. There are other Rycote products that we all know about, and I'm very happy with them. I know where I stand with them; they take care of the meat and bones, and that's important because it's the simple things that catch you out.

The Overcovers are the simplest things in the world, but they're pure genius. I do lectures at the National Film School, and I talk about a lot of things; but it's always the small tips that they value.

One tip that I have involves Rycote Stickies. You take a Stickie and attach the lavalier microphone to it. (In my case, a COS-11D or a DPA 4060/4071). Then you use double-sided tape over the top: so the mic is attached to the Stickie as normal, and secured with double-sided tape, which you can attach the Overcover to. The mic is very secure that way: it's basically stuck there permanently. It takes a massive tug to pull it off, which saves you a lot of agro in the field and numerous, embarrassing moments where you have to stop the shoot to sort things out.

I worked on documentaries for about 7-8 years and enjoyed it very much. There was a lot of travelling: in fact, the other day I worked out that I've been to 99 countries! (This year, it would have been 100.)

For us, that sounds like a clear opportunity to come up with a product that completes' that package if you like for how it's used in the real world so if we had very strong, hypoallergenic, double-sided tape on a roll to go with the product for example If it's wet and I'm doing something that I know is going to be quite action-packed, I spin the Stickie around and put a safety pin on the back. When you stick the Stickie to material (i.e. clothing) at the beginning of the day, it's dry and stays there; but if, for some reason, it gets pulled off and gets wet or covered in dust, then you'll never get it back on. So I go one step further and use a safety pin.

Outside, you are obviously going to go for a Rycote Overcover. Even if you're inside on a documentary, you'll go for an Overcover because you never know when there's going to be a quick transition outdoors.

If I'm going somewhere wet or humid, I take safety pins as well so I can put them on the back. You could come out with a new product, where you put the mic in and you have an opportunity to either safety pin it or pop it onto the material: so if it's really wet or humid, it won't be coming off

I know where I stand with Rycote; they take care of the meat and bones, and that's important because it's the simple things that catch you out.

What's in your kit bag? Nothing's changed from my website. I recently bought myself a 688 and some Wisycoms.

RECORDERS

Sound Devices 688, 12-track hard drive recorder with CL-12 Alaia fader control console

Sound Devices 633, 10-track recorder

Zaxcom ZFR300 2-track SD card recorder

Zaxcom TRX900 2-track SD card recorder

MIXERS

SQN 4-channel mixer

Sound Devices 2-channel mixer

MICROPHONES

Sennheiser MKH 50 x 2 (with full Rycote system)

Schoeps CMIT x 2 (with full Rycote system)

Sennheiser 416 (with full Rycote system)

Shure SM58 reporter's stick mic

Sanken COS-11 Lavalier microphones x 16 (black/beige/white)

DPA 4071 Lavalier microphones

Tram TR50 Lavalier microphones

DPA 4060 and 4062 Lavalier microphones

Panamic boom poles (Mini, Midi, Max)

WIRELESS (ALL WITH SUITABLE JFMG LICENCES)

Wisycom radio mics x 10

Audio Ltd 2020 diversity radio microphones x 2

Audio Ltd 2040 mini transmitters

Audio Lt

LINK:	https://rycote.com/newsroom/microphone-windshield-shock-mount-russell-...
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