About
"I am firmly convinced that there is a market for sound film." Thomas A. Edison, 1847–1931. A visionary statement by Edison. However, he had no idea how rapidly sound design in cinema—especially in recent years—has developed.
My experience in sound production doesn't extend back to Edison. My professional beginnings, however, date back to the era of analog sound recordings using Nagra and magnetic tape as the recording medium. Nowadays, all sound recordings are produced digitally. Digital technology enables multi-channel recording of dialogue, sound effects, and atmosphere. The essential criteria for a good original sound recording are an unadulterated, clear voice and the quietest possible background noise. Achieving this in the highest quality is my professional credo.
I still vividly remember the first stereophonic film I saw in a cinema: Martin Scorsese's "The Color of Money" from 1986. I found the scenes in the billiard hall particularly impressive, as the billiard balls were pocketed audibly from left to right across the entire projection surface, in perspective with the image. In stark contrast to the previously standard monophonic presentation, where the sound came from a single large speaker positioned centrally behind the screen, the stereophonic speaker arrangement allowed for a virtually spatial sound experience.
Since then, the technology has advanced even further. The initial enthusiasm for stereophony in cinemas is now irrelevant. Thanks to Dolby Surround® and Dolby Atmos®, the viewer experiences spatial perspectives in both horizontal and vertical directions. Sounds can be positioned almost freely within the room. A film without sound is simply unimaginable.
My experience in sound production doesn't extend back to Edison. My professional beginnings, however, date back to the era of analog sound recordings using Nagra and magnetic tape as the recording medium. Nowadays, all sound recordings are produced digitally. Digital technology enables multi-channel recording of dialogue, sound effects, and atmosphere. The essential criteria for a good original sound recording are an unadulterated, clear voice and the quietest possible background noise. Achieving this in the highest quality is my professional credo.
I still vividly remember the first stereophonic film I saw in a cinema: Martin Scorsese's "The Color of Money" from 1986. I found the scenes in the billiard hall particularly impressive, as the billiard balls were pocketed audibly from left to right across the entire projection surface, in perspective with the image. In stark contrast to the previously standard monophonic presentation, where the sound came from a single large speaker positioned centrally behind the screen, the stereophonic speaker arrangement allowed for a virtually spatial sound experience.
Since then, the technology has advanced even further. The initial enthusiasm for stereophony in cinemas is now irrelevant. Thanks to Dolby Surround® and Dolby Atmos®, the viewer experiences spatial perspectives in both horizontal and vertical directions. Sounds can be positioned almost freely within the room. A film without sound is simply unimaginable.