Grab a Hunk of Lightning
October 26th, 2015 by

We’ve known David Leach in passing for years, but this is the first project we had the pleasure of working with him and he most assuredly deserves this award. Dyanna Taylor also deserves every bit of attention this film is getting. It is one of those projects we finished some time ago, but which comes back frequently, including some catch-phrases that seem to have permanently entered our work lexicon. If you haven’t seen it yet, you really should, and if you ever have an opportunity to work with David or Dyanna, take it. Or if you’re in the audio post business, tell them they should call us again. 😉

National Geographic feather in our cap
May 10th, 2012 by

We got this email from Jeremy Olson at National Geographic about some narration we just recorded for them:

“Really phenomenal. I think this might be the best out-of-house stuff we’ve ever had. . . . Like you said, really buttery and rich but not at the expense of detail and clarity.

Love it.”

We do, too. Thanks, as always, are due to Doug Geist over at Santa Fe Center Studios for working with us so graciously.

And, by the way, Jeremy is in Washington, DC, so when he says “out-of-house,” he means Los Angeles, London, New York, etc….

If It Sounds Good, It IS Good: we agree wholeheartedly
September 12th, 2011 by

This was originally posted in our old blog: If It Sounds Good, It IS Good: we agree wholeheartedly. We think it bears repeating.

Michael Davenport, music supervisor and owner of Expressive Artists, just alerted us to this review of our work (and his) on Adventures of a Teenage Dragonslayer:

Luckily the film’s lossless Dolby TrueHD 5.1 mix is quite winning, especially from the very creative use of poppy underscore tunes, some evidently courtesy of bands the music coordinator for the film manages. There is also good, if inconsistent, use of the surrounds, including the many sewer sequences, which feature a lot of discrete channelization and good echo effects. The best overall sound effect is toward the end of the film when Darksmoke and Arthur have their final showdown. That sequence bristles with awesome LFE and the sound design is very effective. Overall, dialogue sounds great here, and the music is especially well done throughout.

(Quoted from

We’re very proud of our work. (Sure, we’d rather not see the phrase “if inconsistent” in there, but we understand what they mean. We knew we had to focus our efforts on certain scenes to make those sections of the movie have the punch the filmmakers wanted. We would have loved to flesh out the movie throughout as much as we did in those key sections, but we had to pick out battles.) Kat certainly deserves the credit they give her for the “very effective” sound design on the final showdown and, in fact, throughout the film: she brought the dragons to life, and her Foley and background work filled out the reality. I’m very pleased to see what they said about my dialog work and the final mix. While we were doing the initial premixing in one of the “many sewer sequences” referenced in this review, I had the wonderful sensation of everyone behind me in the mix room leaning in closer as the suspense built and the mix surrounded them in the world of the sewer. We also agree with everything nice they said about the music, which it should be noted came from the combined forces of composer Mark Oates and music supervisor Michael Davenport.

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