Audio Post-Production Quotes

I have been dubbing since 2006.

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.

It's so legato it's difficult to splice. Sibelius was famous for that.

We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.

On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.

Our job as producers is to make the music sound as good as possible.

As entertainment and storytelling move in the direction of more immersive environments, binaural sound will begin to play a larger and larger role in those experiences.

I'm still amazed by the process of recording.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

We all know that much of what we hear in life is not really so. Canned laughter and 'sweetened' applause have been TV staples for decades, and all the slamming doors, breaking glass and squealing tires you hear in movies are sound effects.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

As far as animatronics, I started out in college working for Tom Holman. He was the inventor of the THX sound system. Through him, I got an internship at Lucasfilm.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

Oh, my gosh, I've never seen a film unless, you know, if I have to go and do ADR, loop-loop. But I don't watch after. I'm too critical.

Aame' is a new attempt. The entire film was shot using live sound technique.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

Pro Tools was invented to quicken the recording process.

Ground zero for me is audio.

I worked for some of the major productions and did many jingles and voiceovers.

Yes, because as composers we are looking for textured voices, and often the singers we find are not trained to perform in a studio environment. So we need technology to doctor their voices to suit the format.

I do almost all my movies in French. I dub them.

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.