Sound Professionals

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

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 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 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 Tishchler on not enjoying cutting sound