Making the Twitter rounds is this article on the audio of Promethius. The article is pretty hardcore and lacking generic statements so common to some interviews. There is some beefy meat here, heres a blurb visa vis reverb:
In terms of technology choices, “We used an AMS Neve DFC console,” Hemphill recalls. “I would have liked an Avid D-Command to get at the Pro Tools tracks, but that wasn’t part of the workflow. My reverb was from two Audio Ease Altiverb Pro Tools plug-ins, a Lexicon 960 dual-head and a dual-head 480. On the DFC, I have quad delays. I also used a Fulltone ETC-1 tape delay at 15 ips with mastering-quality analogue tape. This device allows a unique feedback sound; it was first used on our stage when Paul Massey and I mixed Walk the Line. The new version of AltiVerb was very disappointing, so right now I’m looking at other reverbs. I’m not interested in endless impulse responses that don’t sound good, or are cumbersome to manipulate in real time; I’m just looking for reverbs that sound good out of the box.”
Super-special thanks to Mel Lambert and the Motion Picture Editor’s Guild for putting this together!
Good find, thanks for sharing!
Thanks for posting this and I really appreciate the level of technical detail he gives as far as equipment used. One thing I can not seem to find however is any article/interview that discusses the klaxon/alarm sound that everyone audiophiles/non-audiophiles are raving about. Was this lifted from an original recorded for the first Alien Trailer? Recreated for Prometheus? If so, what tools were used? Filters? Etc. I’m not a sound engineer by any means but enjoy editing recordings every now and then for personal purposes. Would love to have a crystal clear, isolated klaxon sound released one of these days!
But yes, awesome interview! 🙂