Leo Chaloukian on working for Ryder Sound Services
07:49
Leo Chaloukian on sound pioneer Loren Ryder's inventions and innovations
08:50
Leo Chaloukian on sound production
07:18
Leo Chaloukian on Foley sound
03:23
Leo Chaloukian on the difference between sound technology in the '50s and more recently and on creating the sound effects on Lassie and Sea Hunt
15:37
Leo Chaloukian on starting in sound mixing and becoming an executive
09:19
On sound mixing for animation
On how sound mixing for animation differs from live action
01:09
Leo Chaloukian on doing sound for Oliver Stone's "Platoon" - for which he won an Oscar
02:03
Robert Mott on the craft of sound effects on television
03:27
Robert Mott on how he would achieve certain sound effects
04:35
Robert Mott on keeping track of his sound effects library and on the tools of the trade
02:17
Robert Mott on recording his own sound effects for shows like Days of Our Lives and various other shows
06:17
Robert Mott on challenging sounds he had to duplicate
06:10
Robert Mott on the part reputation played in sound effects professionals getting work
01:35
Robert Mott on the difference between working in audio and working in sound effects and on audio and sound effects working with other crew members
06:03
Robert Mott on working on To Tell the Truth and on working with a laugh track
03:22
Robert Mott on how the sound effects craft has changed since he started and the advent of Foley
05:57
Robert Mott on advice to an aspiring sound effects professional
04:35
Carroll Pratt on the kind of equipment he used in sound mixing in the early years, and on the professionals he collaborated with
04:53
Carroll Pratt on the "laugh machine"
02:54
Carroll Pratt on the mechanics of the laugh track and how it worked
07:13
Carroll Pratt on tailoring a laugh track to a show, using M*A*S*H as an example
02:29
Carroll Pratt on recording audiences for laugh tracks in the early days, and on working with the audience to get reactions
05:33
Carroll Pratt on improving on the laugh track after leaving Charlie Douglas, and on starting his own company
01:44
Carroll Pratt on consulting with producers on shows he provided the laugh track for
02:18
Carroll Pratt on providing a laugh track for Hee Haw, on dealing with regional and ethnic audiences when creating a laugh track, and on creating a laugh track for American shows that have been dubbed into another language
06:14
Carroll Pratt on the challenge of providing laugh tracks for animated series
01:20
Carroll Pratt on the most important elements of sound design, and on his distaste for digital sound
03:37
Carroll Pratt on recording Automated Dialogue Replacement (ADR) at which Barbra Streisand is an expert, on what a re-recordist does, and on doing Foley
04:31
Carroll Pratt on providing sports sound effects
01:11
Carroll Pratt on dealing with the limitations of early television set speakers, and on modifying equipment once the technology improved
03:18
Carroll Pratt on providing audience reaction enhancement for live shows like The Emmy Awards
05:30
Carroll Pratt on advice to aspiring sound professionals
00:39
Carroll Pratt on how audience laughs have changed and evolved over the decades
05:16
Carroll Pratt on how audience reactions have evolved over the decades
03:47
