Jeffory Haddad’s résumé as a primary mixer or tech includes many of the hottest TV series of the past 20 years: 24, The O.C., Grey’s Anatomy, Mad Men, This Is Us, Superstore, The Morning Show, Euphoria, GLOW, Pretty Little Liars, Never Have I Ever, Glee, True Blood, The Mentalist, Melrose Place, Gossip Girl, American Horror Story, Orange Is the New Black, and so many more….
That history of accomplishment draws on Lectrosonics’ legacy of high-performance wireless equipment, such as Haddad’s SMV transmitters, UCR411a and SRc receivers, original Venue modular receiver, and new DSQD digital receiver – all of which he coordinates with Wireless Designer software. In this interview, he details his enviable career, how nice it is to be back to work after the writer’s strike, and why dynamic range is the key to natural sounding dialogue.
How did you come to have a career in production sound mixing?
I came from a music background. I’m a bass player and drummer originally. I started playing very young and eventually began college as a music major, studying theory and composition. After my first two years I had to stop and begin working full time. I played in bands growing up and remained close with most of those friends. One of which became my business partner, Tommy Mitchell.
We are still friends and collaborators to this day, let’s say more than 30 years… We opened a little recording studio, right in the middle of an area where lots of local bands rehearsed. I was the engineer, so I recorded all these bands, usually at night, while we were trying to get gigs like composing for TV and commercials during the daytime. We were pretty busy. I still own it; it’s down in San Clemente, but I sublease it now.