Production Sound Mixer Chris Welcker Captures Spinal Tap II: The End Continues with Lectrosonics

	"This production required immense preparation," says Welcker. "Constant transitions shifting between dialogue and musical performance kept us on our toes."

The highly anticipated mockumentary, Spinal Tap II: The End Continues, was a dream project come true for Emmy-winning production sound mixer Chris Welcker, but also presented him with an array of unprecedented audio challenges due to its highly improvisational nature. To master the film's complex and unpredictable soundscape, Welcker relied extensively on an array of Lectrosonics wireless technology, including SMD, SM, SSM, DCHT, M2T and HMa transmitters, an SPDR two-channel recorder, M2R, IFBT4, IFBR1a, and IFBlue receivers and the versatile DSR4 digital slot receivers, which proved essential for both mobility and redundancy across a dynamic production environment.

Welcker was hired by director Rob Reiner for his deep understanding of music-centric film productions, such as Daisy Jones & The Six and Bill and Ted Face The Music, but Spinal Tap II proved to be one of the most challenging in his career.

"The most unique aspect of this project was the script. It was only ten pages long, just a rough outline, with minimal dialogue; it was mainly descriptions of situations and locations. We didn't know who would be in each scene or how many people we'd be dealing with. This was all unusual for a movie. Early conversations emphasized being ready for anything at all times which could vary significantly depending on the circumstances," says Welcker." In addition, the actors were performing the music live, rather pantomiming to pre-recorded tracks. They could play or do anything. Suffice to say, my recorder had to handle an insane number of tracks at all times."

"This production required immense preparation," says Welcker. "Constant transitions shifting between dialogue and musical performance kept us on our toes. We needed to build a flexible system that could accommodate Rob and the actors' requirements without causing delays."

For this demanding production, Welcker's bag rig included two Lectrosonics DSR4 receivers, an SPDR 2-channel recorder, and a Bagframe 2. His cart utilized SRC, 411, DSQD, M2T, ALP 620 antennas, M2R receivers, IFB T4, IFBR1a, and IFBlue receivers. DCHT transmitters were also used. Transmitters for talent included SMD, SM, and SSM transmitters for up to twelve actor microphones at any given time, and. HM plug-on transmitters were used for voice of god mics and booms.

"During the film's peak performance, I realized that every single piece of Lectrosonics equipment I owned was in use, capturing all actors, guitars, vocals, and a ridiculously huge drum kit that required 20 channels," says Welcker. "As a gearhead, it was incredibly satisfying to see every piece of my equipment working together seamlessly to capture the movie's sound."

Welcker singles out the Lectro DS4R for this film's best supporting role. "I couldn't always be at a fixed cart position. I needed a manageable bag and didn't want a heavy setup like those used in reality shows. I set up my bag rig with a couple of DSR4 receivers which provided essential redundancy to my main carts in a lightweight, compact form factor that was crucial for run-and-gun situations where I needed to be mobile. This enabled me to have eight wireless channels for talent lavs and a boom if needed, with the receiver mimicking the first eight channels of my main cart setup.," he says.

"This was crucial in run-and-gun scenarios where we'd start with actors in a green room, follow them through a hallway into the arena, and then they would perform," continues Welcker. "Since they might start performing without a cut, I needed continuous coverage all the way, plus all console channels and stage instruments. The redundant, DSR4 bag rig allowed me to keep actors' mics on that system, on the same faders and packs, and then seamlessly transfer them to the bigger arena system once they were in range."

When asked why he continues to choose Lectrosonics, Welcker cites their durability. "Lectrosonics transmitters are the sturdiest I've ever used. On another movie, an actor drove off with his Lectrosonics transmitter dragging outside a car, but it was completely fine," he adds. "On this movie, the loss and damage budget was higher than any project I've worked on, but no matter how many times a drummer spontaneously combusted, I never lost a Lectrosonics transmitter, they're practically indestructible."

Sound challenges met, Welcker found Spinal Tap II to be one of his most enjoyable mixing experiences, combining elements like dialogue, film sound, humor, and music.

"Growing up around other musicians, quotes from Spinal Tap are used constantly in my world. Being part of that legacy is a great feeling. I've had opportunities to work on projects that mean a lot to me, like Bill and Ted Face the Music -- a sequel to a movie I adored growing up, adds Weckler. "Now, working on the Spinal Tap sequel feels like a dream; I have to pinch myself."

Spinal Tap II: The End Continues is scheduled to be released in the US today.