Tonebenders Podcast

We are joined by Tim Nielsen, Kristina Morss & Mark Kilborn to talk about gear obsession and strategies to reign in those new purchase impulses. Why do we all feel like we need 20 reverbs!? We also talk about Tim's impressive Handheld Recorder comparison of 11 different units. Show Notes: https://tonebenderspodcast.com/179-handheld-recorder-shootout-gear-obsession-roundtable/ Podcast Homepage: www.tonebenderspodcast.com

Supervising Sound Editors and Re-recording Mixers Christopher Scarabosio & Wayne Lemmer talk to us about their work on The French Dispatch. They tell us about what is it like working with director Wes Anderson, mixing at Abby Road Studios for the first time, and how they go about building/mixing an amazing sounding montage sequence. Show Notes at https://tonebenderspodcast.com/178-the-french-dispatch-with-wayne-lemmer-chris-scarabosio/

We are joined by Mark Mangini, Theo Green and Dave Whitehead to talk about their work on the new Denis Villeneuve film, DUNE. They talk about designing the sounds for the personal shields, Ornithopters, the ambiences of all the planets and the sand worm! Plus lots, lots more. Show Notes: https://tonebenderspodcast.com/177-the-sound-of-dune/ Podcast Homepage: https://tonebenderspodcast.com

We are joined by Barry Donelly, Kristen Quinn, Benoît Marsalone and Arnaud Noble to talk about recording and designing sounds for underwater scenes in films and games. We discuss our favourite underwater recording sessions, what works and doesn't work with hydrophones and when it is best to fake it with water sounds recorded with normal microphones. See Show Notes and full Bios at https://tonebenderspodcast.com/176-recording-designing-underwater-sounds-roundtable/

Guest host Mark Kilborn sits down with Loic Couthier & Toivo Kallio, to talk about their sound work on the new PS5 game, Returnal. The Game is a sci-fi third person shooter, based on time loops happening within a shape shifting planet. The game really takes advantage of the new sound capabilities on latest playstation console, especially 3d audio. Show Notes: https://tonebenderspodcast.com/175-returnal-with-loic-couthier-toivo-kallio/ Podcast Homepage: https://tonebenderspodcast.com

Brad Engleking tells us about working on the sound for the amazing documentary, Fathom. The film is about scientists that are recording humpback whale calls and trying to decipher their language. Fathom features some of the most beautiful whale recordings ever captured.

In this episode we talk to Emmy nominated co-supervising sound editors Bernard Weiser and Brent Findley, from the hit series Ted Lasso. They do a deep dive on how they built a massive stadium full of fans chanting "Wanker" from a small loop group for source. They also discuss the rapid evolution of the ADR process in pandemic times, having now done two seasons under various levels of lockdowns. Some things they hope stay going forward and others that they can do without.

In this episode we talk with Craig Henighan (Supervising Sound Editor/SFX Re-Recording Mixer), Paul Massey (Dial/Music Re-Recording Mixer) and Ryan Cole (Dialog Supervisor) from the Shawn Levy directed film, Free Guy. We talk about finding sonic space for dialog when total chaos is happening on screen, dealing with visual effects changing with each new delivery and ADR during a pandemic.

In this episode we talk with the team behind the music documentary Billie Eilish: The World's A Little Blurry. Joining us are director RJ Cutler and members of the sound team including re-recording mixers Elmo Ponsdomenech & Jason "Frenchie" Gaya as well as Supervising Sound Editor Richard E. Yawn. They talk about the challenges of having source footage originally recorded on everything from VHS to iPhones, mixing music for concert footage and keeping Billie's home life sounding intimate.

In this episode we talk with Supervising Sound Editor Mac Smith and Re-Recording Mixer Brandon Proctor, from the new film Nine Days. They tell us how they created the sound for a story that takes place on another plane of existence and yet is entirely recognizable. The film centres on a wall of TVs that that needs sound to lead the viewers to what is (and isn't) important to the story.

Al Sirkett and Lucy Mitchell tell us about their experiences building new stand alone studio spaces in their backyards. They tell us everything they learned, what they would do different, and how much it has changed their lives.

In this episode we are joined by the sound team from the hit Disney Plus series WandaVision. Gwendolyn Yates Whittle and Kim Foscato (Co-Supervising Sound Editors) as well as Danielle Dupre (Re-Recording Mixer) tell us about the immense pressure to complete the series to match Marvel's cinematic standards while working under pandemic restrictions. The also discuss how co-supervisors share the work load, creating sounds knowing they will become cannon and the workflow of processing White Vision's voice.

Way back in January, the great Mark Mangini penned a little blog post outlining some audio tropes that he was hoping to put to rest. That post inspired some slack threads, facebook posts, and a good general discussion about how we can be more original and creative when tasked with designing sounds and situations that can have quick and easy answers. In this not-so-serious conversation Mark gets together with Tim, Teresa and René to break down some tropes, spell out some reasons for going there anyway, and maybe…just maybe…we retire the now infamous Wilhelm.

We talk to Peter Albrechtsen (sound designer) & David Barber (re-recording mixer) about the intense and unique sound work done on director Robert Machoian's film The Killing of Two Lovers. Visually the film plays out over long steady shots, while much of the films plot takes place off screen with sound taking the lead. The director also chose not to have a composer and instead use sound design, almost as musique concrète, to build the tension.

We talked with an amazing lineup of guests about all angles of recording in the desert. George Vlad, Thomas Rex Beverly, Bethan Kellough, Zach Goheen

We pick up where we left off in episode 163 with guests Kate Finan, Dominic Lawrence & Heather Olsen talking about doing sound design for series animation. We cover how to deal with the tight scheduling and deadlines, the hard lessons we all learned when getting started in animation sound and the need to respect how important these shows are to young viewers.

In this episode we welcome Heather Olsen (Gravity Falls, The Fairly OddParents), and Kate Finan (Muppet Babies, Invader ZIM: Enter the Florpus) from California, as well as Dom Lawrence (The Octonauts, Danger Mouse) from Ireland to talk about the art of doing sound design for animated series. They join our regular hosts Teresa Morrow (Nina's World, Elinor Wonders Why) and Tim Muirhead (PAW Patrol, Bakugan) to really dig into what it takes to bring animation to life with sound.

Supervising Sound Editor Nicolas Becker, Foley Artist Heikki Kossi and Re-recording Mixer Jaime Baksht join us for a talk about their work on the amazing film The Sound of Metal.

In this episode we talk with the sound team behind the excellent new film Judas and The Black Messiah. We dig deep into a standout scene involving a speech to an exuberant crowd with lots of call and response happening. Marlowe Taylor talks about how he captured the sounds on set, as Production Mixer. Rich Bologna explains how he edited those sounds, in post, to create the intensity, and re-recording mixer, Skip Lievsay, tells us how he made it all sound HUGE.

In this episode we talk about the sound work done on the latest Aaron Sorkin film The Trial of The Chicago 7. We are joined by Reneé Tondelli (supervising sound editor) & Michael Babcock (re-recording mixer) as they tell us all the challenges they overcame to make this protest/courtroom drama come to life. From overcoming challenges of recording loop group and ADR in early lockdown conditions, to blending the sound of new scenes and original archive footage seamlessly this film presented endless challenges for the audio team.