In a special AMPS event, Chair Andrew Wilson hosted an engaging conversation with two titans of sound: Andy Nelson, Oscar-winning re-recording mixer, and Simon Hayes, award-winning production sound mixer, to discuss their collaboration on Universal’s upcoming WICKED. The conversation offered an insightful look at the groundbreaking techniques used to capture the heart of the iconic musical, with live vocals, intricate choreography, and innovative workflows taking center stage.

Live Vocals: The Heart of WICKED
Simon Hayes emphasized the importance of recording live vocals to preserve the emotional authenticity of performances. By using a combination of boom mics, lavaliers, and high-quality pre-record microphones like the U87 and Telefunken, the team achieved a seamless blend of live and pre-recorded sound. “What shocked me,” Hayes noted, “was how beautifully they sang live—you almost don’t know it’s not pre-recorded. And then you hear breaths, spoken words, and suddenly it’s so real.” This live capture gave lead performers Cynthia Erivo and Ariana Grande the freedom to transition effortlessly between dialogue and singing, enriching the audience’s connection to the story.

Collaboration at Scale
The scale of WICKED was jaw-dropping. Early on, Simon Hayes and Andy Nelson advocated for removing traditional boundaries between sound, music, and production departments. Frequent collaborative Zoom meetings ensured a unified vision for live recording and mixing. Simon explained, “We stopped talking about sound departments and music departments—it was all one thing. It had to be cohesive to deliver something of this scale.” Andy Nelson echoed this sentiment, praising the deep collaboration with the picture editor, Myron Kirstein, and sound designer John Marquis. “Every scene was meticulously planned, from tempo-locked choreography to sync adjustments that ensured the visuals and sound flowed seamlessly.”

Defying Gravity: Technical Challenges
One of the standout moments in WICKED is the iconic Defying Gravity sequence. Capturing the soaring vocals while Elphaba flies through the air posed significant challenges. Simon detailed the use of a lav mic hidden in the brim of Cynthia Erivo’s hat to ensure perfect sound capture, while silent wind machines created visual motion without disrupting the audio. For Andy Nelson, mixing the sequence was a careful balancing act: “You don’t want to release the power too early—you hold back, building dynamics until the right moment. It was a tough scene, but we were so proud of how it came together.”

Real Sets, Real Sound
Nathan Crowley’s stunning practical sets, from university campuses to rivers and vast tulip fields, added to the film’s realism. “This isn’t a blue screen world,” Hayes noted. “The sets were enormous—walls 50 feet high, as big as four football fields—and that authenticity translated beautifully into the soundscape.”

A Masterpiece of Sound and Music
Andy Nelson summed up the project: “This was an extraordinary collaboration. Everyone—from the cast and crew to the editors and mixers—was moving in the same direction, and we couldn’t be prouder of the result.” Simon Hayes reflected on the significance of the project: “This is honestly the best mix I’ve ever heard. It’s a peak moment for me, and I’m so grateful to have been a part of it.”

The evening wrapped with AMPS members enjoying an exclusive preview of WICKED, leaving them inspired by the craftsmanship and passion that brought the sound of this beloved musical to life. Special thanks to Universal Pictures for arranging this unforgettable event