In the bustling streets of Glória, a neighborhood in the Brazilian capital Rio, is Studio 106db, one of the many new production facilities springing up in Brazil. Studio 106db was built by Ricardo Cutz and opened in June 2013. Ricardo is a mixer and sound editor, responsible for mixing some of the top Brazilian films such as “Viajo porque preciso, Volto por que te Amo”, “O Abismo Prateado”, “Os normais 2″ and many more. Ricardo is optimistic about the future of home-grown Brazilian productions "two years ago a law was passed that now means broadcasters have to show Brazilian content and not just stuff from US cable networks."
“It’s important for me to be able to work with some of the best Brazilian film makers and to support their work that is seen around the world.”
Although Studio 106db is a new venture, Ricardo is no post-production rookie "I started in studios in 1994, so it's almost 20 years, in 1999 I started to concentrate on sound for film production. In 2005 I joined one of the big studios, then last year I decided to start my own facility" says Cutz.
Studio 106db already has an impressive track record and in a very short time Cutz is known as one of the audio go-to-guys in Brazil, in particular for his work on many of the top art-house movies. "It's important for me to be able to work with some of the best Brazilian film makers and to support their work that is seen around the world."
His journey into the world of Exponential Audio reverbs is perhaps a common one "I've had the opportunity to work with all the great reverbs like System 6000 from TC, Lexicon 480 and then I used the Lexicon PCM reverbs. Then I heard people talking a lot about Exponential Audio in different forums, so I decided to buy the Phoenixverb Surround."
"Phoenixverb has easily become my first choice reverb" says Cutz. When quizzed on this he explains why, "It was one of the first reverbs to be AAX and working in Pro Tools 11 that was important for me, it's easy to use, sounds great and best of all it's so efficient, I can have loads of instances of it on my dialogue tracks, 5:1 effects and music, the sound is unmatchable!"
However the technical aspects are only part of the reason that Cutz has made his choice. "Michael understands how to have a relationship with people, you email him and he comes back to you, that makes a difference to me. I write to some companies and they never reply."
Just a small selection of the films worked on by Studio 106db
Exponential Reverbs In Use
One use Cutz has for PhoenixVerb is for matching dialog in location sound "it's amazing how I can use the reverbs to match the original audio from a tie-clip or boom with ADR." He continues in typically Brazilian style "I get passionate about the sound of this plug-in."
“I can have loads of instances of it on my dialogue tracks, 5:1 effects and music, the sound is unmatchable!”
It seems that PheonixVerb is now the Swiss Army knife in the toolbox "I use it for all my reverberation needs." He continues "I want to create a video because I've just finished a really interesting movie and all the sound was ADR, we didn't have a single location sound on the movie. So I used PhoenixVerb to put all the dialogue inside the different spaces, like rooms and open fields, but I also created a lot of interesting effects with guys shooting guns and we created a lot of reverbs for this. There's a moment where our anti-hero shoots a kid and we created a really dark tail on the end of the shot as an effect."
Automation is a common part of the workflow, Cutz explains "I use it to create tonal change for sounds, according to the mood of the scene, I used it to have a man coming from a corridor and then into a room, it was two or three clicks and then some mixing and matching and voilà!"
When asked if he has anything else to say Cutz responds "I love Exponential Audio!" As if we hadn't already gathered.