These podcasts are all members of the Audio Podcast Alliance. → Learn more here
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In Conversation, Episode 13 brings in current Cinema Audio Society President, Peter Kurland CAS, to discuss his career as both Boom Operator and Production Sound Mixer; his experience with musicals; his many Academy Award, CAS and BAFTA nominations; as well as his view on the Cinema Audio Society.
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Tonebenders ran episodes with members of the sound teams of all five nominees in the “Best Achievement In Sound” category at this year’s Oscars. So here are some of our favourite clips from each interview. Plus a few un-aired minutes from the “Oppenheimer” interview that we saved for this episode.
Starting with James Mather talking about the epic Fiat car chase scene in “Mission Impossible: Dead Reckoning Pt 1”. Then Richard King talks about the immense research the team did to get the sounds correct on “Oppenheimer”. Next is Tom Ozanich explaining his approach to making the huge climatic orchestra scene work emotionally. After that is Erik Aadahl discussing how explosions can’t just go “boom” they have to reflect the plot when they happen in the story. Finally we have Johnnie Burn explaining how the two films he worked on last year, “Zone Of Interest” & “Poor Things”, intersected with each other.
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In this episode of the Immersive Audio Podcast, Oliver Kadel travels to Reykjavik, Iceland, to meet Treble Technologies whose mission is to enable a better-sounding world. Treble is a start-up that built the world’s leading acoustic simulation platform that can generate interactive, real-time, immersive audio-visual auralizations. In this two-part series, we will explore the complex world of acoustic simulation.
In this second part, we dive more into audio product design and the close collaborative process between the developers and the software users. We’ll cover the emerging market of synthetic data generation for machine learning and talk about the future road map for Treble.
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Our guest today is Eran Ben-Isaac. With over 12 years of experience as a professional production sound mixer, Eran’s expertise has graced numerous film and TV productions, documentaries, and commercials. Now based in Brussels, Belgium, his influence spans both local and international projects.
Eran’s natural environment is the film set, where he captures the sonic essence of every moment, skillfully recording and mixing sound to bring each scene to life. So join us as we dive into his journey, the intricacies of production sound mixing, and the global experiences that have shaped his unique approach.
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Composer Thomas Brunet talks about his absolutely stunning music for “Chants of Sennaar” in this episode. We love how spontaneous the music sounds, and the colorful, creative instrument palette. In addition to the wonderful music, Thomas and I talk about a new graduate program he’s created for music and sound design in Bordeaux, France, as well as his love for and knowledge of French literature.
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Today’s guest is Zach Heyde, a composer based out of Los Angeles. He has worked on a ton of different projects with clients like Disney, Dreamworks, Roblox, and many others. He also runs an online course called “The Composing Career Bootcamp” where he teaches composers how to build a full-time career.
In this episode, Zach and I talk about the importance of being uncomfortable, the types of opportunities there are in the world of composition, how to start networking as an introvert, success as a content creator on YouTube, and so much more.
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In this exclusive SoundWorks Collection video, we explore the sound effects tracks of “Can You Hear The Music” scene and how this Oscar nominated sound team collaborated with Director Christopher Nolan.
Featuring Sound Designer / Supervising Sound Editor Richard King, Re-Recording Mixer Gary A. Rizzo, Re-Recording Mixer Kevin O’Connell and Production Sound Mixer Willie Burton.
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In this interview, re-recording mixers Tom Ozanich and Dean Zupancic discuss the mix of Bradley Cooper’s film Maestro – currently in the running for a ‘Best Sound’ Oscar (among other noms!) They talk about mixing the Ely Cathedral scene and the party scenes, mixing effects in a musical way during scenes without score, and so much more!
Interview by Jennifer Walden, sound library highlights by Christian Hagelskjaer, and hosted by Asbjoern Andersen from asoundeffect.com.
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2-time Academy Award®-winning composer Hans Zimmer joins us on the podcast to discuss his work on “Dune: Part Two,” after winning an Oscar for his score to the first installment of the sci-fi franchise, directed by Denis Villeneuve. And like Denis, Hans had been dreaming about working on these films since he was a boy. And he also knew he wanted to take them in a less traditional direction, sonically:
“These were the things which probably had been on my mind ever since I read the book. It’s just… I never had the opportunity to try them. I could never understand why, in a science fiction movie — I loved them all — but why we would hear a sort of a European orchestral sound. Why the strings? Why the French horns? Everything else looked futuristic. Everything else was different. Except the music still stuck to the rules of the romantic period. I’m not criticizing it. There’s nothing I love more than ‘Alien’ or ‘Star Wars.’ They’re phenomenal things. But I saw my duty very much as going beyond that.”
— Hans Zimmer, Composer, “Dune: Part Two”
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All over the world, there are unique and breathtaking sounds that you can only hear in one specific place. In this episode, we travel to two of the most astounding sonic wonders in the United States. The first is a hidden sound installation in Times Square that might be the most visited art exhibit on Earth. The second is an enormous organ built right into the rock of an ancient Virginian cave. These stories originally aired on the Atlas Obscura podcast.
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The Audio Podcast Alliance gives you a hand-picked selection of the world’s best podcasts about sound – here are the members:
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