Episode 4 is the first to include a brief segment at the beginning which recaps some key moments from earlier in the series. Many times when this is implemented in television, there is actually a remix of the audio elements to aid in the "stitching" process. Particularly in regards to musical score: some shows leave out music altogether (even if it was present in the original scenes), and others weave a "new" musical track in with the original dialogue & foley tracks. I thought the latter approach has worked well in series like 24, so that's what I went for.
This turned out to be less straightforward than I first surmised. For instance... the Gregorian-style chant in the early cathedral scenes was added as score, yet its character was such that it was an essential part of the sound effects harkening that time and place. And the reverse cymbal sound leading up to Jered's rescue was a crucial tension-building element, and that sound was part of yet another track of the musical score.
Nothing really profound there, it just got me thinking about the sound elements in ways I hadn't had to consider while doing the original episodes. I ended up leaving the above key pieces of score in place while removing score from other scenes, crossfaded per the video edits, and then layered in a little incidental music track you may recall from Episode 1 in the tension before the big battle, which I've come to refer to as "Benedict to the Rescue." It starts out with a nice reversing crash of its own, and because of its simple components (guitar by Guitar Rig 2), it proved very easy to edit to the appropriate length for the segment.
It was just dumb luck that the "Benedict" tune happened to be in the same key I used to record the chant, so they blended together very nicely without any modification.
Episode 5 and forward also include these "previously on" segments, and the process is pretty much the same with different scene selections. I've found it quite enjoyable putting this icing on the audio cake at the end of each session.
Episode 4 had good source audio all around on the dialogue tracks. There were occasional pops to eliminate on The Master's track, and unlike Episode 2 which saw most of these addressed with tight EQ automation, the pops in episode 4 were fewer in quantity but more challenging in their timing, and cutting EQ was negatively impacting the vocal quality for the offending words. One was a particularly forceful "H", which is not normally a big plosive problem, but apparently the air caught the microphone just right and set its diaphragm all atwitter. So this time I got up close and personal with the audio scrubber and actually removed the offending noise rather than just try to bandpass it out of the picture. It turned out to take less time per pop, had better final quality, and was less processor-intensive (those VST EQs and effects can really sap you fast). I'll probably just adhere to this method from here forward.
I desperately want to deconstruct the Angel's voice for you, because it was certainly one of the more challenging (and fun) dialogue segments I've worked with to date on this project. But I don't want to demystify the great androgynous lord just yet, so I am going to save that analysis for after the next appearance he/she makes.
Enjoy Episode 5, now less than a week away!