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32 l September 2014


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broadcast UNITED KINGDOM Doggedly dependable


Richard Meredith tells Dave Robinson that Lectrosonics was the only realistic choice for a specific set of criteria on forthcoming TV project Release The Hounds


RICHARD MEREDITH is in the enviable position of owning his own hire company as well as being an accomplished sound recordist. He was able to choose the right gear for the job when faced with recording a new reality game show with some demanding circumstances: Release the Hounds is set in a forest. A sometimes dense forest. At night.


Given the green light following a successful pilot in late 2013, Release the Hounds consolidates elements from other formats: a game show with the feel of Crystal Maze (remember that) meets Fear (a


US paranormal show) meets the Bush Tucker Trials – with cash prizes. The first series, presented by Reggie Yates, will be unleashed on ITV2. Meredith was contracted as sound supervisor in charge of audio recording for the show. The Hounds set is a huge open forest several miles west of London with games happening all over it. After lengthy discussions, it was decided that the shoot would be done in studio style, with the director in a central gallery and all video feeds and audio incoming, as opposed to shooting ‘in camera’. The location was spread so far


Reggie Yates hosts the forthcoming show


and wide that managing media changes out in the field was deemed unrealistic – and bearing in mind the added complication of it being shot at night and the terrain on site was, in patches, so dense and inaccessible, making cable runs impossible. (Two galleries were needed in the end to make it possible!)


Meredith’s team initially considered the option of recording out in the field and sending a monitor mix to the director. However there were so many other elements that required the sound mixer to be near the production in the gallery that it was decided to run an audio gallery too – this came courtesy of the Ethos Audio truck.


Then, with such great distances involved, fibre runs were required in one form or another for the radio mic system. The method agreed was to run a receiver rack locally at the game and bring the audio back to the


“With the games designers


coming up with ideas faster than Usain Bolt in the 100m – a lot of them involving several other artistes to be mic’d in addition to the main game contributors – I could see that flexibility would be the key” Richard Meredith


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