SoundWorks Collection

In this episode, we chat with the sound team from Muse’s Simulation Theory live concert film featuring Supervising Sound Editor & Sound Designer Gerry Vazquez, Re-recording Mixer Aleks von Korff and Re-recording Mixer James Parnell. The latest live film coming from Muse, based around the 2019 album, Simulation Theory, was released in select IMAX cinemas on August 17th with digital downloads from Amazon, Google Play and iTunes released on August 21st with a deluxe box-set set to be released on 11th December, featuring a 5.1 DTS Master Audio Blu-Ray, together with an LP, both with audio from the film, paired with a Casette of the film score, which was written by Bellamy himself. The film was shot in 2019 at the O² Arena concerts, on 14th and the 15th September 2019. The movie follows a team of scientists investigating the source of an unknown paranormal anomaly, spreading across the globe. The center of the anomaly is in London and appears to be at Muses stage. One of the scientists, known as Murphy touches the simulation theory arcade game and is electrocuted. He breaks the fabric of his reality and breaks into our own, standing alone out on the stage. He is soon pulled back, but shortly after is "bitten" by a phantom of a Muse Dancer. He then starts transforming into a monster after being infected by a mysterious pathogen.

Told through the eyes of quirky, charming, and humble bandmates: Shawn, Jon, Matt, and Justin, Bleeding Audio is an intimate portrait detailing The Matches' promising career, defeating break up, and inspiring reunion, as they reflect on what success truly means for musicians in today's digital industry. The Matches’ story overlaps with the drastic changes the music industry has undergone in the past several years. From declining record sales, to excessive touring, to illegal downloading and streaming. This documentary uses The Matches history and recent reunion to dig deeper into the root of the challenges the average musician faces in the digital age of the industry, and how artists can navigate their careers today. Bleeding Audio features interviews from The Matches, their family and music industry friends; including Nick Hexum of 311, Mark Hoppus of Blink 182, Cassadee Pope from The Voice, Biffy Clyro, Plain White T’s, Motion City Soundtrack, Zebrahead, and more! www.bleeding-audio.com www.chelsmark.com

We chat with Composer Mark Isham about his recent Emmy nomination on the Hulu show, Little Fires Everywhere and explore the close collaboration with Florence + the Machines' Isabella Summers and drummer Vinnie Colaiuta. We also discuss their work on the Ingrid Michaelson song "Build it Up" and the covers of "In the Air Tonight" sung by Judith Hill and "Bitch" sung by Ruby Amanfu. We also talk about Mark's recent work on "Bill & Ted Face the Music" to craft the main title using a Prophet-5 and Moog Modular synthesizers and the direct influence the musical group Weather Report had on Mark's career.

In this conversation we chat with the sound team from Naughty Dog to discuss their extensive work on The Last of Us: Part 2. We explore the gun and foley sound recordings, creating the terrifying sounds of the infected, the whistle language of the Seraphites, the unique glass and breathing sound systems, Ellie’s guitar gameplay sounds and much more! Robert Krekel - Audio Lead Neil Uchitel - Senior Sound Designer Jonathan Lanier - Audio Programmer Maged Khalil Ragab – Dialogue Supervisor

Composer Mac Quayle discusses working on The Last of Us Part II with Composer Gustavo Santaolalla and Naughty Dog Studios. We discuss the creative process for scoring a wide range of musical textures that were implemented throughout the game including Mac's music that was used for the 2018 E3 game preview. Mac shares his approach to scoring for video games and using the Resonant Garden, an acoustic-electronic hybrid instrument. ABOUT MAC QUAYLE: Audiences worldwide have been captivated by the unique musical stylings of emmy-winning and grammy-nominated composer, Mac Quayle. Quayle won an emmy for his score on usa network’s golden globe winning suspense-thriller Mr. Robot, starring christian slater and rami malek, now in its final season. Quayle also scores fx and ryan murphy’s peabody award-winning, golden globe and emmy-nominated 80’s nyc ball scene drama pose, starring billy porter; Fox’s procedural drama 9-1-1, starring angela bassett, which he co-composes with todd haberman; netflix’s the politician, starring gwyneth paltrow and ben platt; and fx’s golden globe winning and emmy-nominated horror anthology american horror story. He received his first emmy nomination for his score on american horror story: freak show. Quayle’s upcoming projects include Fox's 9-1-1 spinoff series 9-1-1: lone star, starring rob lowe and liv tyler, which he co-composes with Todd Haberman and which premieres January 19; and netflix’s ratched, which is based on ken kesey’s “one flew over the cuckoo's nest,” starring sarah paulson and scheduled to premiere in the Fall of 2020.

In the Netflix series Ozark, Marty and Wendy appear to have a normal suburban life, but that’s all a front for their real job: laundering money for a Mexican drug cartel. As with the story, the sound in the show is working on multiple levels, and in this episode Sound Supervisor Nick Forshager and Mixer Larry Benjamin take us through constructing the sonic environments of riverboat casinos and basement dungeons, and talk about how to use sound design and music to relentlessly build tension until the shocking resolution of the final episode of season 3. Larry Benjamin - Re-Recording Mixer Nick Forshager - Supervising Sound Editor

Hamilton is a landmark Broadway production of remarkable scope, now streaming into your home on Disney+. In producing the film version, the show’s creative team sought to give the audience “the best seat in the house,” and in this podcast we talk with original Broadway team artists Alex Lacamoire and Nevin Steinberg along with the film’s sound team Tony Volante, Roberto Fernandez, and Dan Timmons about a number of Hamilton topics, including the challenges of designing a custom sound system for the historic Richard Rodgers Theatre, translating the live show into a cinematic world, and how Dolby Atmos played a key part in giving the audience at home the transformative theatrical experience. We also review clips and discuss in detail the numbers “Alexander Hamilton,” “Satisfied,” and “The Room Where It Happens.”

Cinema director David Fincher created one of the first original streaming series with House of Cards, and his innovative spirit infuses the Netflix original series Mindhunter, now in its second season. In this podcast episode, the sound team discuss Fincher’s unique approach to the sound of serial killer interrogation scenes, a hallmark of this fascinating, dark series. The team discuss setting the acoustic tone of the series, including the oppression of the FBI agents’ basement office (and a very special door), why it was important to Fincher to always hear trainee agents at Quantico at target practice, and the joy of receiving Fincher’s incredibly detailed mix notes. Steve Bissinger - Sound Effects Editor Scott Lewis - Re-Recording Mixer Stephen Urata - Re-Recording Mixer

In this exclusive conversation we chat with Re-recording Mixer Marc Fishman and Supervising Sound Editor Mark Relyea about Little Fires Everywhere which is based on the 2017 novel of the same name by Celeste Ng and currently streaming on Hulu. The series stars Reese Witherspoon and Kerry Washington, both of whom also executive produced, alongside Liz Tigelaar, Lauren Neustadter, and Pilar Savone. Set in the Cleveland suburb of Shaker Heights, Ohio during the late 1990s, it features Witherspoon and Washington as mothers from different socioeconomic backgrounds. The story explores the weight of secrets, the nature of art and identity, the ferocious pull of motherhood – and the danger in believing that following the rules can avert disaster.

In season 3, the Emmy-award winning Westworld leaves the parks behind for the sounds of the “real” world, circa 2057. In this episode, the sound team behind the remarkable show discusses showrunner Jonah Nolan’s design concept that noise-reduction technology has progressed to the point that the world seems quiet and peaceful...until the climactic end when all technology fails and the world devolves into chaos. The conversation also includes a discussion of mixing the show natively in Dolby Atmos, and the challenges of finishing postproduction as the world went into Covid-19 lockdown. Susan Cahill — Supervising Sound Editor Benjamin Cook — Sound Designer/Re-recording Mixer Keith Rogers — Re-recording mixer SUBSCRIBE NOW: bit.ly/Subscribe_Dolby LEARN MORE: dolbylabs.co/33NNrgw About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Full video discussions will be on Dolby Youtube page and audio podcasts will be featured on our website or the SoundWorks Collection channels on Apple Podcasts, Soundcloud, Stitcher and Spotify!