I finished Storm Warning three weeks ago(mid-Jan 2001), it has only just come out, so I finished it, the CD had barely dried before it has been whipped off to the duplicator.

I had a decent amount of time to do episode 1, as it needed to be done for DWM.  So I "loaded" that one somewhat. It has loads of music, loads of sound.
I didn't have as much time, relatively speaking for the other three episodes, so for the final release I removed one or two of the music cues from episode one to make it slightly more balanced in relation to the others.

Because there was only the one McGann film, my original idea was that I wanted "Storm Warning" to sound like a film soundtrack, even down to the way I treated ordinary dialogue, so that it wouldn't sound like a radio play , it would sound like you were listening in a cinema, with that quality to it.  It meant compressing the dialogue a bit more than I would normally, so the voices sound very full, very present.

With the recording of the second McGann season, the first week was great fun, and the second week was more exhausting, because as I pointed out to Jason one day, everybody... Paul was on call all day, India was on call all day, but they'd have breaks, the director for the time he'd be directing would be there all day, but out of all of us the guy who'd be there all day every day was me, recording.

Recording Dialogue at Christchurch

We use the studio going through to a DAT, because it is a beautifully dead environment, it is just an oblong box.

The arrangement I came to was basically a microphone in each corner, so that each mic was as far apart from another mic,  which means now I can pan these two right and these two left, and the fall off in volume between this mic and this mic would mean that I wouldn't get significant pickup or phasing problems.. 

If I did it anywhere else the off mic away from the actor would make it sound like I was in a big splashy room somewhere, which I hate.  I always like to add a reverb rather than be stuck with whatever is on the recording. 

We also had two isolation booths, one to my right, and the control room was almost like the set of the Enterprise, because it had a big control desk at the front, (helm control), and then there was a second desk behind me which would be like a mixer desk in front of the captain's chair, and it even had a couple of stairs coming down one side, and a big window which would be the view screen... Oh, sorry..

I could see the studio, but I couldn't see the actors in there because it was closed off to make it dead all round, but I had a camera in there, so I can see people, otherwise it would be terribly isolating just to hear disembodied voices coming out of the speakers. It was good that I could see everybody, and as people were coming in, I could see where they were going, or I could say "can you go across to that mic" or "can you actually come in a bit" rather than be blind..