Creators: Audio Engineer Bob Schachner
For over two decades, Bob Schachner has been a sound designer at Alkemy X responsible for recording, mixing, and designing audio for a diverse array of clients. Check out our conversation with him about the ins and outs of being an audio engineer and navigating project challenges.
AX: What sparked your interest in audio engineering, and how did you get started in the field?
BS: I have been recording since high school, starting with a 2 track ¼ inch tape machine. After college, I went on tour for Dawson Sound and worked with Lou Reed and the Mahavishnu Orchestra, then became a roadie, FOH mixer and tour manager for a few bands – Billy Cobham, Jan Hammer, and Jeff Beck. When I got married, my traveling days were over, and I transitioned into audio post-production. I’ve been lucky to experience many of the major changes in the recording industry. Years ago at AES I watched a demo of one of the first digital audio workstations and thought I was witnessing the “Second Coming.” The transition from tape to computer had begun!
AX: Can you describe a typical day in your role?
BS: Wake up as late as possible. Feed Chicopee, our 17-year-old Siamese. Eat a large omelet and read an actual newspaper (The Philadelphia Inquirer) that’s delivered every morning. And then work begins!
AX: Can you describe a challenging technical issue you faced and how you resolved it?
BS: The biggest problem I continually have is bad location audio. The advantage of today’s software is that the tools for improving this have never been better.
AX: How do you collaborate with other members of the production team, such as directors, producers, and editors?
BS: We talk all the time by phone, text, email, and Slack. It can get a little crazy. Maybe there are too many ways to communicate!
AX: What has been the most rewarding project you’ve worked on, and what made it special?
BS: Over the years there have been a few projects that were extra special. Our daughter Sarah is a composer and I mixed her score for the video game Assassin’s Creed Origins and the movie The Lazarus Effect. I also recorded and mixed 4 albums for the Brazilian band MINAS. More recently I’ve been working with songwriter/producer/musician Chris Peace and also recording some of my own music.
AX: How does your own music taste influence your work?
BS: It doesn’t. I’m very picky when I listen to music for pleasure but when I’m choosing music for a project, the question is – what works best for the spot or scene. All musical options are on the table. I might be influenced by the quality of the recording but even that has its place.
AX: What do you find most challenging about your job, and how do you overcome these challenges?
BS: The hardest projects for me are long-form – movies, and tv shows. It’s challenging to maintain a consistent audio mix over 60 to 90 minutes.
AX: What personal qualities do you think are essential for success as an audio engineer?
BS: Listening to my clients, bringing something extra to the creative process, and being easygoing.
AX: What’s the most interesting or unique project you’ve worked on, and what was your role in it?
BS: I enjoy mixing documentaries. The most recent one was 72 Seconds in Rittenhouse Square for Paramount+. The most unusual was Last Days Here, a film about the lead singer from the metal band Pentagram. What a crazy story!