“Let’s say a scene is on top of a building and for some reason I can’t be up there. The Dante compatibility of his DSQD receivers is just one of several assets, he notes. At one time or another, I’ve had almost everything Lectrosonics makes.” After we wrapped, I upgraded to the Venue2. We took over an actual hospital building for Scrubs, and the Venue worked flawlessly in that environment throughout the entire series.
It was Glen Trew who first got me to move to the original Venue system. “When Peter and I started moving over to other shows, we switched to the Lectrosonics 185s. I had four channels and that was it,” he reminisces. “I had been using Sony through Miami Vice because it was state-of-the-art at the time. Some of what I already learned translated well.”įoglia first switched to Lectrosonics equipment after wrapping his work on Miami Vice. That’s where I first got experience in the different signal needs of different ‘customers’ - our own recording, broadcast, the live concert sound in real time, and so on. This helped launched him into production and broadcast sound mixing in a practical sense, he adds: “When I worked at Criteria, they built another truck, and we did some live remotes for CBS, who were introducing live music into their New Year’s specials. They were eventually bought by Sony, but Peter and I decided we wanted to put together a remote recording truck.” “We left at the same time to go work for MCI - not the phone company but the one that made 24-track tape machines and recording consoles. “I hooked up with a guy in technical school, Peter Yianilos, and later we found ourselves working at a firm building computers for NASA’s Jet Propulsion Laboratory,” he recalls. A lifetime Lectrosonics user, the new additions to his toolkit include five DSQD four-channel receivers, two DCR822 compact dual-channel receivers, M2T transmitters for IFB as well as a selection of all-digital and Digital Hybrid packs - the latter being receivable by the D Squared systems.įoglia first entered the music industry a computer background.
PRODUCTION SOUND MIXER SOFTWARE SERIES
Production sound mixer Joe Foglia, who began his career recording music at Miami’s Criteria Studios where he engineered or assisted on recordings by artists such as Black Sabbath and Crosby, Stills & Nash, now runs his own mobile production company (Southeast Audio ADR) that recently adopted the all-digital D Squared line of wireless components from Lectrosonics.įoglia’s film and TV credits include the 1980s-defining series Miami Vice, for which he earned an Emmy nomination for best sound, as well as Marley and Me, Scrubs, and It’s Always Sunny in Philadelphia.
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