These podcasts are all members of the Audio Podcast Alliance. → Learn more here
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Willie D Burton CAS is one of the most respected Production Sound Mixers in the industry and a CAS Career Achievement Honoree. In this conversation Production Sound Mixer Paddy Hanlon CAS talks with Willie not only about the CAS award he received for Oppenheimer this year but about his long fantastic career through some of the biggest movies of the last few decades. Wargames, The Goonies, The Color Purple, The Shawshank Redemption to mention a few.
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https://open.spotify.com/episode/0V2MEzZrvSpt9G0z2t8IkI?si=097462771a444c2e
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Vancouver based Eugenio Battaglia joins us to go over his work as Supervising Sound Editor, Sound Designer and Re-Recording Mixer on Longlegs. The films amazingly successful theatrical run was fuelled by the unique sounds that drive this movie. Eugenio was instructed by director, Oz Perkins, that he wanted the film’s soundscape to feel like rock & roll, so the film is infused with subtle sounds of vinyl records, things going backwards, and a vibe of being gritty and unhinged. There are a lot of fun and interesting sound decisions in Longlegs, from unusually loud foley and breathing to the Heartbeat of Hell!
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In this episode of the Immersive Audio Podcast, we’re joined by the co-founders and artistic directors at DARKFIELD – David Rosenberg and Glen Neath from London, UK.
David and Glen talk about the creation of DARKFIELD as a company and a form of immersive entertainment and we dive into binaural sound design behind their most successful shows.
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“So there’s no sound in space – What are you going to do?” – Alfonso Cuarón, GRAVITY
As it turned out Chris Munro did a hell of a lot! Martyn Harries talks with AMPS Fellow Chris Munro about his amazing career and the technical challenges he faced in films ranging from United 93 to The Muppet Christmas Carol.
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Today I’m excited to have Mikee Goodman as my guest. He is the powerhouse vocalist from SikTh & Primal Rock Rebellion and a versatile voice over talent in the entertainment industry. As a singer, voice artist, casting director, and audio producer, Mikee’s creative prowess knows no bounds. From his electrifying performances with bands to his work as the director of voiceover and many of the voices for “Disco Elysium” Mikee’s diverse skill set has made a significant impact across music and gaming.
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Jessie Van Der Vyver is a Production Sound Mixer based out of Kansas City, Missouri and also London, England. Jessie uses a Sound Devices 888 mixer/recorder. He also uses Sound Devices A20 wireless TXs and RXs including the A20 mini transmitters. Additional wireless includes Lectrosonics TXs and RXs. For time code boxes he likes Ambient Recording LockIt and NanoLockits. For lavs, Jessie uses DPA 6060s and 4060s. On the boom pole he has a Schoeps CMIT 5u and also uses the Schoeps Colette CMC 6u with mk41 capsules. Jessie also uses a DPA 4017c on the boom.
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#72: Today’s guest is Aaron Brown, a video game composer, sound designer, and audio director based out of Austin, Texas. He has worked in the game industry for over 20 years now and has worked on projects such as Call Of Duty, Uncharted, Redfall, Donkey Kong: Country Tropical Freeze, and so many others.
In this episode, Aaron and I talk about how to make your own path into the game audio world, how he’s been dealing with countless layoffs and studio closings, how people should network and make friends within the game industry, and so much more.
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In this exclusive SoundWorks Collection podcast episode, we feature an in-depth conversation with the sound crew behind the critically acclaimed TV series “The Bear”. Featuring Re-recording mixer and Supervising Sound Editor Steve Giammaria, Dialogue Editor Evan Benjamin, and Production Sound Mixer Scott Smith discuss the creative and technical challenges of bringing the show’s dynamic kitchen and restaurant environments to life.
The crew reflects on the show’s early success and surprising cultural impact, as well as the challenges of capturing the authentic sounds of the chaotic kitchen scenes using multiple cameras, booms, and lavalier mics. They share insights into their innovative audio editing and mixing techniques, such as using auto-align, managing dynamics, and preserving production tracks to maintain the emotional impact of the dialogue. We also discusses the importance of balancing noise reduction with preserving the life and energy in the audio, as well as overcoming challenges like background noise and improvisation.
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Symphonic Ambiences (asoundeffect.com/symphonicambiences) is an impressive MODULAR sound effects library that gives you 41 layered ambience scenes – allowing you to control each layer for maximum customization. With the sound library featuring a staggering 242 isolated layers and 15+ hours of recordings, creating it was a massive undertaking for sound designer and recordist Michael O’ Connor – and here’s the story on how he successfully made it happen.
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How Hollywood studios work and operate can be mystifying, especially for emerging filmmakers. Luckily, Dolby Institute Fellowship winner Carlos Lopez Estrada returns for another of his excellent Satellite Sessions (this one from December), featuring executives from some of the biggest studios in the entertainment industry, all to help de-mystify how they, and the studios, find, develop, and produce their projects.
Joining the discussion are:
– Vanessa Morrison, President of Streaming, Walt Disney Studios Motion Picture Production
– Mika Pryce, Senior Vice President of Production, Paramount Pictures
– Sheila Walcott, Senior Vice President of Creative Development, Warner Bros. Entertainment
– Ryan Jones, Senior Vice President, Production Development, Universal Pictures
– Tara Duncan, President, Onyx Collective
This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
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Our final look at the music of Star Trek puts us in the position of the show’s music editors and composers. With so many classic episodes to get through, how did they stretch their music budget to cover an entire season? The music of Sol Kaplan, Joseph Mullendore, Gerald Fried and Fred Steiner is examined, and we also look at a series of clever music edits for tracked scores.
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Over the last few decades, Apple has produced some of the most recognizable sounds ever made. In this episode, the Apple design team pulls back the curtain on their sound design philosophy and process, from the evolution of the classic “Tritone” alert, to the surprising origins of the Apple Watch sounds, to the inspiration behind the latest notification tones. Featuring Billy Sorrentino, Hugo Verweij and Kelly Jacklin.
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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:Hear more audio-related podcasts here
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