“…a re-recording mixer hopefully gets involved in a film project at an early stage, say, just before they start shooting, just so that everyone knows what has to be delivered in the end…whether its a Dolby Digital print, or DTS, or maybe just straight to video, whatever. So, from that initial point of contact you talk about all these final format things, and if it’s a really well organized production, you would interface with the production sound mixer, and make sure they’re working in a format that would suit the dialogue editorial process later on…”
“Sound Designer is the credit Steve receives on this film, and it is a technical and artistic activity, one that has interested AM since he first started making voice recordings on a Philips mono recorder in the late 50s. In the production of a film Steve Munro both makes original recordings (usually 6-track) and takes those already done and creates a context and meaning for them in the film…”
“Few figures have engendered more controversy among audiophiles than Bob Carver. Virtually every product he developed at Carver Corporation, which he founded in 1978, contained an unusual feature with an impressive-sounding name. Supporters hailed these features as important innovations. Detractors dismissed them as gimmicks. Carver preamplifiers had Sonic Holography, a fancy handle for interaural crosstalk cancellation. His amplifiers had Magnetic Field power supplies. His tuners and receivers had the Asymmetrical Charge-Coupled FM detector…”
