AMPS Podcast

Martyn Harries AMPS is in conversation with the sound team of the Apple TV series Widow's Bay. Re-Recording Mixers Larry Benjamin and Tim Hoogenakker, Supervising Sound Editor Matt Yocum and Production Sound Mixer Kevin S. Parker talk about creating the quirky sound of Widow's bay, share tales from the set and divulge the best piece of advice they were given starting out on their careers.

A special "Round-Table" discussion from MPTS 2026 chaired by Richard Thomas with Howard Bargroff, Kate Davis, Yves-Marie Omnes and Chris Munro. They explain what 32 bit float actually means, the process and workflows they use and some pitfalls that can be encountered.

A special "Round-Table" discussion from MPTS 2026 chaired by Kate Davis AMPS Vice Chair with Heather Andrews, Ben Barker and Dan Pugsley discussing their process and all things sound design in film, TV and games.

Martyn Harries AMPS talks with Production Sound Mixer Ande Schurr about his and his team's work on the Netflix/BBC series Lord of the Flies. The extreme conditions of the Malaysian rain forest, it's wonderful richness of wildlife sounds and the riotous, wild scenes with young actors.

Academy Award, BAFTA and AMPS Award Winning Gwen Yates Whittle, Supervising Sound Editor on F1: The Movie talks to Nina Hartstone and Louise Burton about her journey into the industry and their shared passion for sound and helping the next generation. Recorded by Richard Thomas AMPS Equipment loan and editing Kate Davis and Azimuth Post Production

Award winning Shelley Roden from Skywalker Sound talks to Louise Burton and Karo Jedrus (Jedrzejczyk) about mentorship and her passion for foley. Recorded by Ludovic Lasserre AMPS Equipment loan and editing Kate Davis and Azimuth Post Production

Nancy Nugent-Title, Supervising Sound Editor on Jon M Chu's incredible award winning Wicked films talks to Nina Hartstone and Louise Burton about her journey in to sound and the welcome changes in the industry. Recorded by Paul Paragon AMPS Equipment loan and editing Kate Davis and Azimuth Post Production

Stian Aagedal talks with Martyn Harries AMPS about his company (actually his father's company!) Acon Digital and how as a schoolboy he couldn't find audio recording software that would do what he wanted and so he developed Acoustica and marketed that under the wing of his father's company. He explains about some of the more difficult programming tasks and gently enlightens Martyn who knows nothing about programming!

Production Sound Mixers Nadine Richardson, Simon Hayes, and Adam Fletcher in conversation with host Paul Paragon about the importance of the production sound mix. We hear about how the off-lines, breaths and capturing the original, authentic performances are key to fabulous sound and so much more! Fascinating insights from some of our top UK PSMs. This AMPS Podcast is sponsored by URSA Straps https://ursastraps.com Recorded by Richard Thomas AMPS. Edited and mixed by Kate Davis AMPS at Azimuth Post Production

Martyn Harries AMPS in conversation with Sound Designer Wayne Pashley about the cinematic experience of Elvis telling his own story, in his own words in Baz Luhrmann's film EPiC. Wayne talks about his 30 plus year working relationship with the director and how the team were given the freedom to explore and create a tone poem based around live performances, rehearsal footage and a never before broadcast, 45 minute recording of Elvis talking about his life.

AMPS’ Nina Hartstone talks to Sound Designer Laia Casanovas and Re-Recording Mixer Yasmina Praderas from the first all woman sound team to receive an Academy Award nomination about their work on the Spanish desert rave film Sirât. Hear how they managed to recreate the authentic sound and feel of the raves, and how they used sub bass and dynamic range to create tension and contrast in the incredible and impactful soundtrack for this unique film. Mixed and Edited by Kate Davis at Azimuth Post Production

Louise Burton AMPS talks with the sound team responsible for AMPS Award nominee Mission: Impossible - The Final Reckoning. Production Sound Mixer Lloyd Dudley, Key First Assistant Sound Cei Frampton, Re-recording mixers Mark Taylor and Chris Burdon, and Supervising sound Editor James Mather. What do you do when asked to provide sound in a bespoke dive mask - and you can't even touch it? Hear about how the energetic "grit and dirt" in the sound track is what Tom wants to achieve. Thanks to Sebastian Dressel AMPS for editing/preparing this episode

Martyn Harries AMPS in conversation with Tom Taylor - Production Sound Mixer and Lee Salevan - Re-Recording Mixer /Supervising Sound Editor about their work on Clint Bentley's film "Train Dreams". We hear about the training and preparation Lee had for working on quiet films and about the scene which moved Tom to tears.

Martyn Harries AMPS talks with the post and production sound team from Ryan Coogler’s AMPS Award nominated film ‘Sinners’. Find out how they built the soundtrack for the intense, surreal montage, the implications frequent recuts had on the Foley tracks, and how Felipe, the music editor, coped with the rigours of being on set. With Martyn in this episode are: Chris Welcker, Brandon Proctor, Steve Boeddeker, Benny Burtt, David Butler, and Felipe Pacheco. Thanks to Isabel Derr and Kate Davis AMPS of Azimuth Post Production for their help editing this episode.

Martyn Harries AMPS talks with the Co-Supervising Sound Editors Margit Pfeiffer and David Acord (also Sound Design) about their work on Andor Season 2. We hear how the legacy sounds from Star Wars are respected and enhanced and about how the Ghor language was created and how cast member have become fluent speakers.

Supervising Sound Editor / Re-Recording Mixer – David Giammarco, Supervising Sound Editor - Eric A. Norris and Production Sound Mixer – Tod A. Maitland some of the team behind the sound for "Springsteen: Deliver Me from Nowhere" in conversation with Martyn Harries AMPS. Find out the team's favourite moments and their biggest challenges and why Tod records with 6 lavs on an actor! Thank you to Isabel Derr and Azimuth for their help in preparing this episode.

Martyn Harries AMPS in conversation with Ulrika Akander - Dialogue Supervisor, Michael Babcock - Supervising Sound / Re-Recording Mixer, Joe Dzuban - Re-Recording Mixer, and Balázs Varga - Production Sound Mixer about their work on James Vanderbilt's film "Nuremburg", the challenging sets and the attention to detail involved with a period piece. Please Note - There is a technical problem with Joe's mic at 29'40" but we thought his answer was important and needed including Thank you to Kate Davis AMPS and Azimuth for help with the edit and mix.

Louise Burton AMPS in conversation with Judi Lee-Headman AMPS, CAS - Production Sound Mixer on Nia DaCosta's film "Hedda". Hear why Judi spent all her time in the "dog house" and how 3D printing saved the day for the dialogues.

Jake Whitelee AMPS talks with some of the team behind the epic soundtrack of F1 the movie. AMPS Award winning Production Sound Mixer Gareth John AMPS, and Supervising Sound Editors Al Nelson and Gwen Whittle. Hear what it was like to be filming on a live Formula One racetrack, how to mic up an F1 engine, and how Lewis Hamilton feels while he’s driving that fast. You can watch F1 now on Apple TV. Thanks to Kate Davis AMPS and Azimuth Post Production for the record and edit.

Steve Single - Sound Supervisor, Re-recording Mixer and Andy Neil - Sound Design and Re-recording Mixer in conversation with Martyn Harries AMPS about the challenges of Mona Festvold’s latest film The Testament of Ann Lee. A musical with a difference with challenging scenes weaving in and out of historical drama, music and chanting, and some wonderful atmospheres and FX. Find out what made the cast very ill, the team’s favourite moments and the most challenging scenes. Edit and Mix by Isabel Derr at Azimuth Post Production https://azimuth.tv/

Sound Designer/ Supervising Sound Editor Nathan Robitaille, Supervising Sound Editor Nelson Ferreira and Re-Recording Mixer Brad Zoern are in conversation with Rob Walker AMPS about the sound for Guillermo del Toro’s film Frankenstein. This episode explores the creation and evolution of the animal/human creature voice, their collaborative approach to the creative process and the intuitive bond with their producer. Even the blunderbuss gets its moment in the spotlight!

Louise Burton AMPS MPSE in conversation with Supervising Sound Editor/ Re-Recording Mixer Paul N.J. Ottosson and Production Sound Mixer Thomas Varga about their work on Kathryn Bigalow’s “House of Dynamite”, the challenges of recording and editing a huge ensemble cast multi-stage and how to maintain tension inside the interior space. This episode is sponsored by Ursa Straps https://ursastraps.com/

Martyn Harries AMPS in conversation with Production Sound Mixer Douglas Axtell, Supervising Sound/Dialogue Editor Jill Purdy and Re-Recording Mixer Stephen Barden about their work on Kogonada's film A Big Bold Beautiful Journey, their collaborations with visionary Directors (in sound terms!) and the unwelcome pesky guests who turned up on location! This episode is sponsored by URSA Straps https://ursastraps.com

Chris Welcker, Production Sound Mixer on Sinners https://www.imdb.com/title/tt31193180/ shares his experience of recording live, acoustic music in challenging situations and how he approached the problem of an actor having to have interactions with themselves whilst playing two key characters. Chris goes into detail on how he achieves music recordings on set that have real soul and integrity. In conversation with Martyn Harries AMPS, Chris talks about how growing up in New Orleans and playing Jazz has shaped his film sound recording career. This episode is sponsored by URSA Straps https://ursastraps.com/

Patrick Southern, Production Sound Mixer, is in conversation with Martyn Harries AMPS about his work on the 2025 film The History of Sound - A love story of two folk song aficionados in the early days of recorded music. Patrick talks about being a musician and the challenges of recording the authentic, acoustic performances which are essential to this story. This episode is sponsored by URSA Straps https://ursastraps.com/

Freddy Vinehill-Cliffe, Product Specialist for AMPS Industry Partner NUGEN Audio in conversation with Martyn Harries AMPS - NUGEN's plugins explored - their latest offering DialogCheck along with VisLM, AB Assist 2, Halo Upmix, ISL and Paragon Immersive Reverb - all explained - A must for students and those who want to know more about what NUGEN's Plugins can do for your sound mix. This episode is sponsored by URSA straps https://ursastraps.com

Stuart Piggott AMPS Production Sound, James Ridgway Re-Recording Mixer and Tom Jenkins Supervising Sound talk with Martyn Harries AMPS about the sound on Black Mirror, USS Callister and about their work and the industry in general

Paul Paragon AMPS in conversation with Sound Recordist Ellie Williams AMPS - Recognised for her work on Secret World of Sound with David Attenborough - winner of the 2025 AMPS award for sound in a factual film. Recorded by Martyn Harries AMPS and Richard Thomas AMPS Edited and Mixed by Kate Davis AMPS with thanks to Azimuth Post Production

Payam Hosseinian AMPS in conversation with Drama Sound Nominee Brian Armstrong Supervising Sound Editor on Shogun. This episode was recorded at the 2025 AMPS Awards at the University of Greenwich. Recorded by Richard Thomas AMPS Edited and mixed by Kate Davis AMPS with thanks to Azimuth post Production

In this episode Martyn Harries AMPS talks with Professor Andrew Knight-Hill and Dr. Emma Margetson about their book “Art of Sound” - exploring creativity in sound with conversations between Film Sound practitioners and Electroacoustic Music composers. They talk about their work at the University of Greenwich and the interesting projects some of which can be experienced at the Amps Awards Events held at the university. LINKS: https://www.ahillav.co.uk/ http://emmamargetson.co.uk/ https://www.gre.ac.uk/people/rep/las/andrew-hill https://www.gre.ac.uk/people/rep/las/emma-margetson https://www.routledge.com/Art-of-Sound-Creativity-in-Film-Sound-and-Electroacoustic-Music/Knight-Hill-Margetson/p/book/9780367755881

Nina Hartstone AMPS talks with Ron Bartlett, Re-Recording Mixer and Gareth John AMPS, Production Sound Mixer about their work on AMPS Film Sound Award winner Dune Part 2. Hear about the recording of shifting sand sounds and how it is not all about loud bangs and action but tight, quiet, delicate detail to pull the audience into the real desert environment of Arrakis. This episode was recorded before the announcement that Dune Part 2 had also won the BAFTA for film sound. Recorded by Richard Thomas and Paul Paragon with thanks to Kate Davis and Azimuth for editing, equipment and support.

Director Jacques Audiard and re-recording mixer Cyril Holtz take us behind the scenes of Emilia Perez, sharing how their creative collaboration shaped the film’s groundbreaking soundtrack. They discuss finding inspiration in an unlikely character, integrating real-world sounds into musical sequences, and balancing raw emotion with stylized soundscapes. Discover how a single scene, filled with rising light and bird sounds, symbolises Emilia’s rebirth, and learn why movement and imperfection were essential to the film’s sound design. Plus, hear advice on fostering collaboration between directors and sound professionals. Listen now for these insights and more! Moderator: Ian Haydn Smith Translator: Anne-Sophie Marie

Louise Burton AMPS in conversation with Production Sound Mixer Emmanuelle Villard and Sound Editors Valerie Deloof and Victor Fleurant about their work on Coralie Fargeat's film "The Substance" The innovative use of a stethoscope, Creative Foley and Coralie's approach to sound and her diverse team. Translator: Abla Candalaft

In this episode, the AMPS Podcast delves into the 12th annual AMPS Film Awards for Excellence in Sound in a Feature Film. Hosted by Martyn Harries, the episode features an engaging panel discussion with AMPS Council members George Foulgham, Louise Burton, Kate Davis, Rob Walker, and Andrew Wilson. Together, they explore what makes a soundtrack stand out and the artistry behind the nominated films. Recorded 15th January 2025 Amps Awards are sponsored by Dolby Laboratories, Pinewood Group, Sennheiser, Raycom and Bubblebee Industries This AMPS Podcast is sponsored by Ursa Straps https://ursastraps.com/

Nina Hartstone AMPS talks with the Post Production Sound team from 'The Brutalist' - Re-recording Mixer Steve Single, and Sound Designer Andy Neil. Thanks to Kate Davis AMPS and Azimuth https://azimuth.tv/ for recording and mixing this episode. This episode is sponsored by URSA straps https://ursastraps.com/

In this episode we hear what our AMPS colleague Simon Hayes wants in his Christmas cracker! He tells us about what inspired him to seek out a career in sound and about his love of recording live performances especially in his latest film - Wicked. This episode is sponsored by URSA straps https://ursastraps.com/

In this episode multi Oscar winning British Re-recording mixer Andy Nelson talks with Andrew Wilson about his career, his amazing body of work, in particular his work on Wicked. He reveals “the one that got away” and how he and Stephen react on their first day of a mix. This episode is sponsored by URSA Straps https://ursastraps.com/

Martyn Harries talks with BAFTA and Oscar nominee (No Time to Die - 2021) James Harrison about his work on Steve McQueen's film Blitz (2024) This episode is sponsored by URSA Straps https://ursastraps.com/

Martyn Harries AMPS talks with Gemma Nicholson about her interesting journey from Sound Editor to Post-Production Supervisor and why she started Post Super https://post-super.com/ as a hub for training and knowledge in High end TV and Film Post Production. We hear her views on training and up-skilling and about the state of the industry This episode is sponsored by URSA Straps https://ursastraps.com/

We Join AMPS Chair Andrew Wilson for a Q&A with Walter Murch and Director Howard Berry after a private AMPS viewing of their film Her Name Was Moviola This episode is sponsored by URSA Straps https://ursastraps.com/

"So there's no sound in space - What are you going to do?" - Alfonso Cuarón, GRAVITY As it turned out Chris Munro did a hell of a lot! Martyn Harries talks with AMPS Fellow Chris Munro about his amazing career and the technical challenges he faced in films ranging from United 93 to The Muppet Christmas Carol. https://www.imdb.com/name/nm0613101/ This episode is sponsored by URSA Straps https://ursastraps.com/

"I took a day to record a chainsaw in the middle of the Kent countryside" ..... In this episode Martyn Harries (@martynthemixer) talks all things gore with the Supervising Sound Editor Ryan Hatton (@ryanhattonn) and the Re-Recording mixer Rob Ackerman (@ackerman.rob) behind Winnie-the-Pooh: Blood and Honey 2 This episode is sponsored by URSA Straps https://ursastraps.com/

In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards, Sound Designer / Supervising Sound Editor Richard King talk to Ian Haydn Smith about the role of sound on OPPENHEIMER. The podcast discusses working with director Christopher Nolan and creating the sound for the Trinity explosion.

In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards, Production Sound Mixer Chris Munro and Supervising Sound Editor James Mather talk to Luke Reed AMPS about their work on the sound for MISSION IMPOSSIBLE: DEAD RECKONING. The podcast discusses working with star and producer Tom Cruise and the challenges of producing sound on huge stunts.

In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards Production Sound Mixer Nina Rice AMPS and Sound Designer and Supervising Sound Editor Dan Kenyon talk to Martyn Harries AMPS about their work on the sound for BARBIE. The podcast discusses working with Director Greta Gerwig, collaborating with teams across production, and the challenges of working in the plastic world of Barbie.

In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards Production Sound Mixer Tarn Willers AMPS and Re-recording mixer, Sound Designer, Supervising Sound Editor Johnnie Burn AMPS talk to Ian Haydn Smith about their work on the sound for THE ZONE OF INTEREST. The podcast discusses working with director Jonathan Glazer, the research that went into recreating the sound of Auschwitz and finding creative solutions to challenges.

In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards, supervising Sound Editor Nina Hartstone AMPS and Re-recording Mixer Adam Scrivener talk to Martyn Harries AMPS about their work on the sound for SALTBURN. The podcast discusses working with director Emerald Fennell, how to work with comic timings, and using sound design to create the journey of the central characters.

Martyn Harries talks with James Parnell, Supervising Sound Editor and Re-recording Mixer about his work bringing Twisted Metal, an exciting, action packed, award winning playstation game adaptation to our screens, his career in both London and LA and much, much more. Our very own Rob Walker gets a mention and James has advice for those starting out in the industry.

For this Episode AMPS Council member Martyn Harries talks to Peter Albrechtsen about his Sound Design for Evil Dead Rise - the latest instalment in the Evil Dead film series (in Cinemas now)

Kate Davis and Andrew Wilson are joined by the sound team for All Quiet on the Western Front - winner of the 10th AMPS Award for Film Sound. They share all kinds of insights on their collaborative and creative process for the films' soundtrack.