AMPS Podcast

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