mixer profile:
jon andrew's advice
run fast, or run away.
the reality of reality shows

Driven from the beginning by his interest in the creative combination of sound and electronics, Sound Mixer Jonathan Andrews is well suited for the best - and the worst - this unique profession has to offer. But don't let Jon's love for the artistic side his work mislead you: He's one tough soundman. How tough? He once coached the US Marine Corps Rugby team. Oooah!

Like many TV and Film Sound Mixers, Jon initially had his sights set on working in a studio, recording music. But fate soon had him crossing paths with film production, and Jon liked what he saw.

In the beginning . . .

"I guess it all started with my father, an aircraft electrician in the Royal Navy, who introduced me to electronics and instilled a fascination with circuit boards and what they could do. Then as I grew into my teenage years and my love of music took over, I read about the Sound Engineer 'Are you ready' Eddie Offord in Melody Maker, a British Music Newspaper. This article on the job of the Sound Engineer for 'ELP' and 'Yes' hit a nerve in this young teenager. Here a job was described that tied together two things I was interested in, Electronics and Music. With this in mind my High School curriculum was formed so that my studies became geared towards that goal. I was very lucky in that at my school a lot of my peers had similar ideas on their future, such as friends like Andy Turner who went on to lead Capital Radio in London, Mike Burdett who became a major UK jingle writer, Gary Tibbs, who was the bassist with The Vibrators, Roxy Music."

First Job(s) . . .

"My first encounter with Sound Engineering was with British Movietone News. My School set up a work-study program (internship) over the summer of 1976 at their Denham Studios. This was not my goal as I wanted to get into Music Recording but it did enable me to learn about another side of the recording industry. As a Sunday afternoon film addict it was a very interesting experience to see how sound and film came together to form a finished product."

Don't tell Jon that there's something he can't do, unless you really want him to do it . . .

"During my last year at High School I was informed that the chance of a career in Sound Recording was virtually nil but the Career Advisor could set me on the path of Civil Engineering; or if I wanted to work in a windowless, air-conditioned environment, a Computer Engineer. I had other ideas and started writing letters to every recording studio in London. At this time I was introduced to Bill Rowe, the Head Mixer at Elstree, Borehamwood Film Studio. After a chat with him he suggested I look into Film Sound as an alternative. At the time he was working on 'Tommy', and pointed out that his job incorporated all aspects of Sound, and not just Music. With his words ringing in my ear & I redoubled my efforts before I had to decide on what University I should go to. Then I struck gold. De Lane Lea in Wembley offered me a job as a Tape Op. They also pointed out that on one day I would work with a band, but the next I may be working on a sound FX track for a movie. There was that word again: "movie". I had 2 weeks to decide. I then received a letter from Geoff Lahbram at Pinewood Studios offering me a chance to come in and look around his Sound Dept. They were not employing at that time, but he was so surprised that a youngster was interested in film sound, off we went for my tour of the last of the 'All-in' Film Studios in the UK. Half way through our chat he quietly informed me that they were thinking about bringing on an Apprentice [ed: interesting preque...], and asked if I'd like the position!

Well, it paid double what De Lane Lea were offering and the fact it was an apprenticeship meant that I would have a broad training in all areas of Sound. I was lucky to have two choices, but the choice was easy.

So, at 18 I had a job doing what I had wanted to do since I was 11, and didn't have to go to 4 more years of School. Just 5 years of learning on the job and then I'll be off around the world on wonderful locations chatting with the stars and earning money doing my hobby, recording sound. But . . ."

Not so fast . . .

"I then spent the first 6 months polishing the Chrome on 5 Fisher and 2 Mole-Richardson Microphone Booms. I did not even look at a soldering iron during that time, let alone a microphone. Mind you, I can still strip a Fisher and put it back together with my eyes closed - I just get to charge lots of $$$'s for that now."

The big break . . .

"My first job on the set of a major Film production was setting up the Public Address System for the model unit for "Superman." My first Boom Op job was on the front projection unit for "Superman 2." And the fi rst as a Sound Maintenance/Utility was with Danny Daniels on "The Mask's of Death". All this was part of my Apprenticeship training at Pinewood Studios just outside of London.

But my first big break into production sound came during "Heavens Gate." During pre production I was involved as the playback operator, working with director Michael Cimino and the Choreographer Eleanor Fazan, auditioning dancers for the big Waltz scene. When it came to production, I was released so a freelance Playback Operator could take over. Well, as they say, "A funny thing happened on the way to the Forum". I had just sat down at my desk back at Pinewood when the AD phoned, asking if I could make it out to Oxford. Michael Cimino had missed me at the scout when he wanted the music played. With his statement "Wherever I go, Jonathan goes", I was back on the crew. The next morning I was welcomed to set with a "Nice to have you back". Here I was working with one of the top DP's,(Vilmos Zsigmond) and a top Hollywood Director and he knew my name. For a young lad only half way through his apprenticeship it was awesome."

Every young professional needs mentors . . .

"Many people have influenced my approach to Sound Mixing. It obviously started with the article on Eddy Offord, where he talked about how there should never be feedback at a concert, then watching Gordon McCullum command his console in Pinewood's Theatre 2. Both showed me the importance of attention to detail. Working alongside the engineers showed me how amps can be tweaked at the component level to provide a flat response. Watching mixers like Roy Charman, Claude Hitchcock, Chris Munro, David Crozier, and Ivan Sharrock showed me how a production sound crew worked as a team, within a team to provide post with clean usable sound...

... John Hayward then would show me how the production sound could or couldn't be used in the fi nal mix. All of these people influenced my outlook on recording Sound but the one individual who summed it all up and gave me the motto I work by was the late Keith Wester." High Quality, High Efficiency, Low Profile. Production never waits on sound because we are always ready."

Over the course of the last 25 years, Jon has had the good fortune to work on a variety of types of production. Preferring the lower profile city of Cleveland, Ohio for his family life, his professional diversity serves him well.

"Having started in Feature films, that is where my heart is; working with a crew of other sound afi cionados, to record sound for a movie release. However, living in Cleveland, my schedule is very diversified. One day I may be working on a commercial for Nike or Visa, then I'll be doing a documentary for the BBC or PBS, then I'll be off on a reality show, and to return to a news crew. More recently I have been doing a lot of reality shows. If somebody is in need of a Production Sound Mixer, I'm happy to be working.

I really don't think I have a job. I have a hobby that people want to pay money for."

On different types of production...

"The challenges as a Production Sound Mixer on a movie set trying to stay ahead of the rest of the crew, then to hear the results in a Theatre is where I get the biggest buzz. However anytime I hear a sound track I recorded and recognize it as my work there is that "I did that" feeling of pride.

There was one incident on the second "Amazing Race" where I had to record in a Samba Club down in Rio. I couldn't hear a word as the music was so loud. No rehearsal, just jump straight in, throw the pads in and hope the meters are working. When it came out on TV, my sound and dialogue was the only one in the club with no sub titles. That was a thrill!

The biggest joy with reality shows, is the ability to work with other mixers on a day to day basis. So often we never see each other, let alone get to sit down and talk. When you get 12 or more mixers in a room, you are always going to learn something. There is always more than one way to crack a nut, and the more ways you know, the more versatile you become."

Since you've done a lot of Reality TV by now, what advice do you have for sound mixers about to embark on a reality show?

"Run fast, or run away. You must be in shape in order to carry the weight of an X-5 and 4 receivers and swing a pole whilst sprinting ahead of the contestants yet staying out of the shot. If you are out of shape or the production is disorganized, these shoots can be brutal. [ed note: When a long-time Rugby player uses the word "brutal", take it literally!]

Production will often say 'This show is driven by sound. It may be a black picture, but if the sound is good we can use it'. But the reality is, if the cameraman doesn't like his picture he may turn your tape recorder (the camera) off. So a lot of communication needs to go on between you and the cameraman. Reassure him he's the boss, but let him know you need him to roll for audio. The best and experienced operators will do this, then find a shot. When it works, it is a joy. When it doesn't you feel like a pack mule carrying camera equipment as well as your own. So get to know your camera operator, you'll be living in close proximity with him for 4 to 8 weeks. You need to keep the air clear so that you both can perform as a team. If you stay out of his shot, he will stop swearing when he blows a focus mark, and will continue to roll so that the sound can be used."

On choosing equipment for work:

"My philosophy on equipment is use the best tool for the job, and use the supplier with the best service. I would rather buy the best quality I can and maybe pay a little more for it, but know that with care, that piece of equipment will last for years, and will not be outgrown as soon as it leaves the shop. Keep looking at the new technology and try to work out what the future trends are. If you can stay on the leading edge you are better prepared to supply a good track, and still be able to supply tracks on the technology of the present. At present I use a Deva V as my primary recorder, with a DAT back up, as a lot of people still want the DAT, but I still have my first Grundig recorder from my teenage years and my first Nagra. They still work.

I want equipment that has been made with the same attention to detail as I expect from my boom op and myself. From a supplier I look for a place that I can call with a question or a problem and get an answer. With everything that is out there it's this insight that makes good customer service essential. Trew Audio fits this criterion, and works well for me."

Jon's first visit to Trew Audio coincided with a Rugby tournament he was officiating in Nashville, so he called to ask where our store was in relation to the tournament. As it turned out, the playing field began about 20 feet from the Trew Audio front door. Now that's service!

The word is that you are a Rugby enthusiast?

"I would say that I'm more of a Rugby junkie. Along side sound, Rugby has been a big part of my life. Once it's in your blood there is no getting away from it. I need my fix and I'll try to get it wherever I may be. It's a sport that gives me an outlet for all my frustration that I need to hold in at work. Plus it helps in keeping fit for when I chase reality TV contestants around or when I'm lugging a documentary package over mountains or through a desert.

Many people look at the game and believe it to be a rough tough game that only if you were insane would you play, and I've shown up on many a set with a black eye and cleat marks up my legs that just furthers this belief.

Pinewood Studios once gave me a 6-month dispensation in 1980 to travel to the US and coach the US Marine Corps. Since then I've been active in US Rugby as a player, coach and more recently as a referee. If I'm not working you can often find me somewhere in the US running around a pitch. Even during the shooting of "The Apprentice" I would try to get off to go and get my fix on the Rugby Pitch in NYC.

At present even refereeing has taken a back seat due to work commitments, but I will be going for International Rugby Board training this year, and one tournament I always try to make is the US Military Club Championships. It was great on the last "Survivor," there were so many South African's, Australians, New Zealanders and Brits, that Rugby was a normal part of conversation."

On success...

"I guess I don't feel I've been a success yet. I'm still learning my craft and I have a long way to go before I would put myself along side so many of the Mixers I have worked with. But I guess what has helped me so far has been the solid background training I received at Pinewood and a need to do better with each job."

Advice to those who dare...

"For somebody starting out in production sound, I would tell them to think about what they really want to do. Sound shouldn't be a stepping-stone to camera. On a film set up to a hundred people are involved in making the picture look right. If you are lucky there are three people worried about the sound. It can make for headaches some days. If you don't enjoy sound recording, you'll hate it. Almost all of the best sound professionals I've met have one thing in common. They enjoy what they do. If you enjoy what you do, you want to learn more and get better. Talk with sound professionals, learn your microphones and what they can and can't do. Then talk to the grip and try to learn a bit about his job, talk to the camera operator and know what the frame looks like with lens A and lens B. Listen. You don't learn much when you are always talking. But most of all have fun. Even at its worst, this is a fantastic line of work."

From left to right: Jon Andrews, Per Larson, Peter Wery and Jim Ursalak on Vatnajokull Glacier in Iceland