the envelopes please…
by tomlinson holman
It’s that time of year again folks, where we honor those who’ve done outstanding sound jobs recording, editing, and mixing television, albums, and films. We’ll set aside that “future history of sound systems” we promised for next issue, and get on with the awards.
One of the nicest awards of the year for us is John Eargle’s Grammy for Best Engineered Album, Classical. John covers so much ground, from music to engineering, and does it so well, that it is very nice to see him recognized. He’s taught us what he knew, without holding anything back. A true colleague and a reason to be in this business.
We also want to add our own award for the best sound items we’ve heard this year. So we’ll start with those.
Surround Professional Awards
• Surround Professional awards Jeff Wexler (production sound mixer), Don Coufal (boom operator), and Rick Kline (re-recording mixer) our Gold Star for Best Sounding Scene in a Movie this year for Almost Famous. The scene in question is one of the simplest, and yet sounded terrific, completely natural. It is the dialog scene in the kid’s bedroom near the end of the film when the rock star comes to visit him. (One interesting thing to do is to go to the movies not knowing who did the sound job, but then find out at the end, especially when they’re good.) I heard it reproduced at the GCC Hollywood Galaxy.
• Surround Professional awards The Laramie Project Best Live Theater Sound Using Spatial Sound Elements. A mob of press is shown overwhelming the characters, and the press is heard from many directions simultaneously. Quite good sound design, although marred, like a lot of live theater, by hum in the sound system. Seen at the Belvoir St. Theatre in Sydney, Australia.
Emmy Winners For Sound Mixing
• Outstanding Sound Mixing for a Comedy Series or a Special: Ally McBeal. Production Mixer Paul Lewis; Re-Recording Mixers Peter Kelsey, Nello Torri.
• Outstanding Sound Mixing for a Drama Series: The X-Files. Production Mixer Steve Cantamessa; Re-Recording Mixers Harry Andronis, David West, Ray O’Reilly.
• Outstanding Sound Mixing for a Drama Miniseries, Movie, or Special: RKO 281. Production Mixer Clive Derbyshire; Re-Recording Mixers Mike Dowson, Mark Taylor.
NARAS 43rd Annual GRAMMY Award Winners
• Best Engineered Album, Non-Classical: Two Against Nature, Phil Burnett, Roger Nichols, Dave Russell and Eliot Scheiner, engineers; Steely Dan; Warner Brothers.
• Best Engineered Album, Classical: Dvorak: Requiem/Symphony 9, John Eargle, engineer; Zdenek Macal, conductor; Delos Records.
•Record Of The Year: “Beautiful Day,” Richard Rainey, engineer; Steve Lillywhite, mixer; U2; Interscope Records
• Album Of The Year: Two Against Nature, Phil Burnett, Roger Nichols, Dave Russell and Eliot Scheiner, engineers; Steely Dan; Warner Brothers.
• Best Pop Vocal Performance: Two Against Nature, Phil Burnett, Roger Nichols, Dave Russell and Eliot Scheiner, engineers; Steely Dan; Warner Brothers.
•Best R&B Album: Voodoo, Russ Elevado, engineer/mixer; D’Angelo; Virgin Records.
• Best Rap Album: The Marshall Mathers LP, Rick Behrens, Mike Butler, Chris Conway, Rob Ebeling, Richard Huredia, Akane Nakamura, engineers/mixers; Eminem; Virgin Records.
• Best Rock Album: There Is Nothing Left To Lose, Adam Kasper, engineer/mixer; Foo Fighters; BMG/ RCA Records.
• Best Country Album: Breathe, Jeff Balding, Derek Bason, Julian King, Chris Lord-Alge, Erik Lutkins, Bryan McConkey, J.R. Rodriguez, Mike Shiple, engineers/mixers; Faith Hill; Warner Brothers.
Cinema Audio Society
• Motion Picture: Gladiator, Re-recording Mixers Scott Milan, C.A.S. and Bob Beemer; Production Mixer Ken Weston.
• Television Movie of the Week or Mini-Series: The Beach Boys — An American Family (Part 2, Mini-Series), Re-recording Mixers Rick Alexander, C.A.S., Richard Rogers, and Rick Hart; Production Mixer Ed Moskowitz, C.A.S.
• Television Series: The West Wing — “In The Shadow Of Two Gunmen,” Re-recording Mixers Dan Hiland, C.A.S. and Gary D. Rogers, C.A.S.; Production Mixer Mark Weingarten, C.A.S.
• Variety or Music Series Special: Beatles Revolution, Re-recording Mixers Ken Hahn, C.A.S. and David Jaunai; Production Mixer Ashley Howe.
Motion Picture Sound Editors: Golden Reel Awards for 2000
• Television Movies and Specials (Including Mini-Series) — Music: The Sandy Bottom Orchestra, Music Editor Steve Rowe; Scoring Editor Steve Rowe.
• Television Movies and Specials — Sound Effects and Foley: The Virginian, Supervising Sound Editors William Angarola, MPSE and Rick Hinson, MPSE; Sound Editors Michael Marchain, Cindy Rabideau and Thomas DeGorter, MPSE.
• Television Movies and Specials — Dialog and ADR: Noriega: God’s Favorite, Supervising Sound Editors William Angarola, MPSE and Anna MacKenzie, MPSE; Supervising Dialog Editor Anna MacKenzie, MPSE; Supervising ADR Editor William Angarola, MPSE; Sound Editors Rick Hinson, MPSE, Michael Marchain, Maciek Malish, MPSE and Ray Speiss, Jr.; Dialog Editor Barbara Issak, MPSE.
• Best Sound Editing in Television: Animation — Music Editing: Mouseworks — “Donald’s Lighthouse/How To Take Care Of Your Yard,” Music Editor Jason Oliver; Scoring Editor Liz Lachman.
• Best Sound Editing in Television: Animation — Sound Editing: Courage The Cowardly Dog — “Courage In The Big Stinkin’ City,” Supervising Sound Editor Michael M. Geisler, MPSE; Supervising Dialog Editor Peter Roos; Sound Editors Charlie Crutcher and Jason Piatt.
• Best Sound Editing in Television: Mini-Series — Sound Effects and Foley: Dune, Supervising Sound Editor Jay Wilkinson; Sound Editors Erik Aadahl, Andrew Ellerd, MPSE, Bruce Tanis, MPSE and Victor Iorillo, MPSE.
• Best Sound Editing in Television: Mini-Series — Dialog and ADR: Nuremberg, Supervising Sound Editor Richard Cadger; Supervising Dialog Editor Richard Cadger; ADR Editor Ronayne Higginson.
• Best Sound Editing in Television: Series — Dialog and ADR: Third Watch — “Jimmy’s Mountain,” Supervising Sound Editor Walt Newman; Supervising Dialog Editor Connie Kazmer, MPSE; Supervising ADR Editor John Reynolds; Sound Editor Louis Kleinman.
• Best Sound Editing in Television: Series — Sound Effects and Foley: The Fugitive — “Pilot,” Supervising Sound Editor Michael E. Lawshe; Sound Editors Rick Camara, Timothy A. Cleveland, Dave Horton, David Werntz, Darren A. Wright and Otis Van Osten.
• Best Sound Editing in Television: Series — Music: Ally McBeal — “The Musical, Almost,” Music Editors Sharyn M. Tylk and Jenny Barak.
• Best Sound Editing — Direct to Video (includes ADR, dialog, effects and Foley): Scooby-Doo and The Alien Invaders, Directed by Jim Stenstrum; Supervising Sound Editor Tim Gedemer, MPSE; Supervising Foley Editor Cecil Broughton, MPSE; Supervising Dialog Editor Kerry Iverson; Sound Editors Rick Hinson, MPSE and Linda Gedemer; Foley Editor Stuart Ablaza; Dialog Editor Jim Hearn.
• Best Sound Editing — Sound Effects & Foley: Domestic Feature Film: Gladiator, Supervising Sound Editor Per Hallberg; Supervising Foley Editor Craig Jaeger, MPSE; Sound Editors Christopher Assells, MPSE, Dino R. Di Muro, MPSE, Jon Title, MPSE, Randy Kelley, Dan Hegeman, MPSE, Richard Dwan, Lou Kleinman, Scott Martin Gershin, MPSE, Mark P. Stoeckinger, MPSE.
• Best Sound Editing — Dialog & A.D.R.: Domestic Feature Film: Crouching Tiger Hidden Dragon, Supervising Sound Editor Eugene Gearty; Supervising ADR Editors Kenton Jakob and Jean Tsien; Supervising Dialog Editor Lewis Goldstein; ADR Editors Betty Teng, Gina Alfano, Hal Levinsohn, MPSE and Lisa Levine; Dialog Editor Paul Urmson.
• Best Sound Editing In Animated Feature Film: Titan A.E., Supervising Sound Editors Christopher Boyes and Matthew Wood; Sound Editors Christopher Scarabosio, Andrea Gard and Michael Ferdie; Foley Editors Sandina Bailo-Lape and Susan Sanford; Dialog Editor Scott B. Seymann.
• Best Foreign Feature Film: Snatch, Production Sound Mixer Simon Hayes.
• Best Sound Editing — Special Venue: Pirates, Supervising Sound Editors Tim Archer and Bruce Nyznick, MPSE; Sound Editors Brian Eimer, Grant McAlpine, Katherine Lisi and Regan Ramos.
• Best Sound Editing — Music (Foreign & Domestic Features): High Fidelity, Supervising Music Editor Mike Higman; Music Editors Shari Schwartz Johanson and Joe Lisantz
• Best Sound Editing — Music — Musical Feature (Foreign & Domestic): Almost Famous, Music Editor Carlton Kaller, Sound Editor Carlton Kaller.
• Best Sound Editing in Animated Featured Film — Music Editing: Chicken Run, Supervising Music Editor Richard Whitefield.
• Best Student Sound Editing: Australian Film, TV and Radio School — Intransit, Sound Editor Liam Price, Mixer Phil Judd.
• Sound Oscar®: Gladiator, Scott Millan, Bob Beemer and Ken Weston.
• Sound Effects Editing Oscar®: U-571, Jon Johnson.
Congratulations to all the winners and nominees.