Sound Professionals


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Highlights
Leo Chaloukian on sound pioneer Loren Ryder's inventions and innovations
Stanford Tishchler on not enjoying cutting sound
Robert Mott on how he would achieve certain sound effects
Carroll Pratt on providing sports sound effects
Dann Cahn on legendary sound man, Jack Foley - the man responsible for early background sound effects
Leo Chaloukian on sound production
Who talked about this profession

Dann Cahn

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Dann Cahn on legendary sound man, Jack Foley - the man responsible for early background sound effects

Leo Chaloukian

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Leo Chaloukian on working for Ryder Sound Services
Leo Chaloukian on sound pioneer Loren Ryder's inventions and innovations
Leo Chaloukian on sound production
Leo Chaloukian on Foley sound
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
Leo Chaloukian on starting in sound mixing and becoming an executive
On sound mixing for animation
On how sound mixing for animation differs from live action
Leo Chaloukian on doing sound for Oliver Stone's "Platoon" - for which he won an Oscar

Robert Mott

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Robert Mott on the craft of sound effects on television
Robert Mott on how he would achieve certain sound effects
Robert Mott on keeping track of his sound effects library and on the tools of the trade
Robert Mott on recording his own sound effects for shows like Days of Our Lives and various other shows
Robert Mott on challenging sounds he had to duplicate
Robert Mott on the part reputation played in sound effects professionals getting work
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
Robert Mott on working on To Tell the Truth and on working with a laugh track
Robert Mott on how the sound effects craft has changed since he started and the advent of Foley
Robert Mott on advice to an aspiring sound effects professional

Carroll Pratt

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Carroll Pratt on the kind of equipment he used in sound mixing in the early years, and on the professionals he collaborated with
Carroll Pratt on the "laugh machine"
Carroll Pratt on the mechanics of the laugh track and how it worked
Carroll Pratt on tailoring a laugh track to a show, using M*A*S*H as an example
Carroll Pratt on recording audiences for laugh tracks in the early days, and on working with the audience to get reactions
Carroll Pratt on improving on the laugh track after leaving Charlie Douglas, and on starting his own company
Carroll Pratt on consulting with producers on shows he provided the laugh track for
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
Carroll Pratt on the challenge of providing laugh tracks for animated series
Carroll Pratt on the most important elements of sound design, and on his distaste for digital sound
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
Carroll Pratt on providing sports sound effects
Carroll Pratt on dealing with the limitations of early television set speakers, and on modifying equipment once the technology improved
Carroll Pratt on providing audience reaction enhancement for live shows like The Emmy Awards
Carroll Pratt on advice to aspiring sound professionals
Carroll Pratt on how audience laughs have changed and evolved over the decades
Carroll Pratt on how audience reactions have evolved over the decades

Stanford Tischler

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Stanford Tishchler on not enjoying cutting sound
About

This category consists of sound editors, sound engineers, sound executives, and sound mixers.