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This profile was last updated on 10/10/14  and contains information from public web pages.

Re-Recording Engineers

Email: s***@***.com
Media&Marketing
 
Background

Employment History

Board Memberships and Affiliations

  • Board Member
    Media&Marketing
11 Total References
Web References
Sound Design for "Twister"
www.mediaandmarketing.com, 10 Oct 2014 [cached]
Lead mixer/dialog for the dub was Steve Maslow, with Gregg Landaker handling effects, and Kevin O' Connell supervising music tracks, as well as a small overflow of effects elements.
...
Maslow and Landaker have worked together at Universal for many years, on such landmark films as "Waterworld" (a 1995 Oscar Nominee), "Speed" (Oscar Nominee in 1994), and "JFK.
...
According to Steve Maslow, director Jan De Bont wanted "Twister" to sound big!
...
"They came to the pre-dub with hundreds and hundreds of raw elements- winds, debris, every imaginable kind of sound that Steve [Flick] could think to create.
...
"We like the 'feel' of the sprockets," Maslow confides. "We didn't prepare extra tracks for the left-inner and right-inner channels on [the 8-channel] SDDS mix; we just bleed some information [from the left, center and right tracks] into the inner pair." Maslow recalls that the pre-dubbing process was particularly complex because of the large number of sound elements. "Steve Flick provided us with maybe 300-400 tracks for a tornado reel [on DA-88 and Pro Tools], and gives us his general idea of what he would like us to do with them. Then all three of us went to work with the material. Music was supplied on a 16-channel Pro Tools system, predubbed to 35 mm mag.
"We didn't want to have everything playing at once, so we were diving in and out of different tracks", Maslow continues.
...
During the final dubbing sequence, Maslow and his team had as many as 200 sound elements running through the main and sidecar consoles.
...
In terms of using sound to create a mood to reinforce what's happening on the screen, Maslow says that he considered a variety of techniques. "There are a couple of scenes in the movie where a tornado is coming and we're just getting licks of wind wisps, and maybe a little growl here and there. All of sudden all the people are looking around the screen because they know something's coming, and then we hit them with it."
In terms of discrete-versus-matrix mixes, Maslow offers that six separate tracks enable him to more accurately define the direction of each sound.
...
"But Steve Flick is a genius for bringing to the stage pre-treated tracks with 90% of the effects done for us; he brings us what he feels will work," O' Connell says. "He may have a 'dry' [unprocessed] version and a 'wet' version so that we can mix between the two- when you're dealing with 400 tracks, for us to treat every single track would be very time consuming."
"There's something a little different about 'Twister'," Maslow confides.
...
"Because [composer] Mark Mancina and Steve [Flick] collaborated on editing the score with the sound effects, it all bends together seemlessly.
...
In terms of dialog balance versus music and effects, Maslow says, "Basically, we just set the dialog at a comfortable level and worked everything else around it. Obviously, as the action ebbs and flows, some pieces of dialog are lost and we'll go up and re-tweak them."
"Steve picked the level of dialog," Kevin O' Connell recalls, "and so Greg and I mixed the effects and all music around it, so that the overall sound level of the movie doesn't become offensive."
...
According to Steve Maslow, "The effects elements came in on DA-88, which is a choice that Steve Flick made because it's very flexible.
...
In terms of maintaining a consistency of sound throughout the movie, Maslow says that they spent a week doing a temp dub with the De Bont.
...
"Jan and Steve [Flick] collaborated on those details before they would come to us.
...
Re-Recording Engineers Steve Maslow, Gregg Landaker and Kevin O' Connell.
Sound Design for "Twister"
www.mediaandmarketing.com, 27 Feb 2008 [cached]
Lead mixer/dialog for the dub was Steve Maslow, with Gregg Landaker handling effects, and Kevin O' Connell supervising music tracks, as well as a small overflow of effects elements.
...
Maslow and Landaker have worked together at Universal for many years, on such landmark films as "Waterworld" (a 1995 Oscar Nominee), "Speed" (Oscar Nominee in 1994), and "JFK."
...
According to Steve Maslow, director Jan De Bont wanted "Twister" to sound big!
...
"They came to the pre-dub with hundreds and hundreds of raw elements- winds, debris, every imaginable kind of sound that Steve [Flick] could think to create.
...
"We like the 'feel' of the sprockets," Maslow confides."We didn't prepare extra tracks for the left-inner and right-inner channels on [the 8-channel] SDDS mix; we just bleed some information [from the left, center and right tracks] into the inner pair."Maslow recalls that the pre-dubbing process was particularly complex because of the large number of sound elements."Steve Flick provided us with maybe 300-400 tracks for a tornado reel [on DA-88 and Pro Tools], and gives us his general idea of what he would like us to do with them.Then all three of us went to work with the material."Music was supplied on a 16-channel Pro Tools system, predubbed to 35 mm mag.
"We didn't want to have everything playing at once, so we were diving in and out of different tracks", Maslow continues.
...
During the final dubbing sequence, Maslow and his team had as many as 200 sound elements running through the main and sidecar consoles.
...
In terms of using sound to create a mood to reinforce what's happening on the screen, Maslow says that he considered a variety of techniques."There are a couple of scenes in the movie where a tornado is coming and we're just getting licks of wind wisps, and maybe a little growl here and there.All of sudden all the people are looking around the screen because they know something's coming, and then we hit them with it."
In terms of discrete-versus-matrix mixes, Maslow offers that six separate tracks enable him to more accurately define the direction of each sound.
...
"But Steve Flick is a genius for bringing to the stage pre-treated tracks with 90% of the effects done for us; he brings us what he feels will work," O' Connell says."He may have a 'dry' [unprocessed] version and a 'wet' version so that we can mix between the two- when you're dealing with 400 tracks, for us to treat every single track would be very time consuming."
"There's something a little different about 'Twister'," Maslow confides.
...
"Because [composer] Mark Mancina and Steve [Flick] collaborated on editing the score with the sound effects, it all bends together seemlessly.
...
In terms of dialog balance versus music and effects, Maslow says, "Basically, we just set the dialog at a comfortable level and worked everything else around it.Obviously, as the action ebbs and flows, some pieces of dialog are lost and we'll go up and re-tweak them."
"Steve picked the level of dialog," Kevin O' Connell recalls, "and so Greg and I mixed the effects and all music around it, so that the overall sound level of the movie doesn't become offensive."
...
According to Steve Maslow, "The effects elements came in on DA-88, which is a choice that Steve Flick made because it's very flexible.
...
In terms of maintaining a consistency of sound throughout the movie, Maslow says that they spent a week doing a temp dub with the De Bont.
...
"Jan and Steve [Flick] collaborated on those details before they would come to us.
A Conversation with Oscar-winning ...
perfectsurround.com [cached]
A Conversation with Oscar-winning Re-recording mixer Steve Maslow
Oscar award-winning sound designer Steve Maslow
...
ABOUT STEVE MASLOW: Steve Maslow is a Motion Picture Sound Re-Recording Mixer. Born and raised in the San Fernando Valley, Steve entered the entertainment industry in late 1969 as a roadie with a local group called the Strawberry Alarm Clock that hit it big with their national hit, "Incense and Peppermint. From there he entered the recording industry, studying and becoming a recording engineer, working with dozens of groups including Frankie Valli and the Four Seasons and A Taste of Honey. With these two groups, Maslow was awarded a Gold record, a Platinum record and a Platinum album, for "Oh What A Night (December 1963)" and "Boogie Oogie Oogie."
By late 1978, opportunity knocked once more and Maslow moved forward into the film audio industry and immediately became a success with work on such films as "The Last Waltz," "Ten,'" "Hair," "More American Graffiti," "Star Trek," and "The Postman Always Rings Twice."
Maslow was awarded the first of his three Academy Awards in 1980 for Best Achievement in Sound for "Raiders of The Lost Ark", and again in 1981 for "The Empire Strikes Back. 1984 saw another nomination for "Dune. Another Academy award was given in 1995 For "Speed," which also gave him his first British Academy Award. In 1996, he was again nominated for the film "Waterworld," in 1997 nominated for "Twister" and in 2000 nominated for "U-571. Recent films he has worked on include "The Town", "The Conjuring" and "The Great Gatsby". Maslow often works at Warner Bros. Studios in Burbank, California.
- - - - - - - - - - - - -
Penteo: Could you tell me briefly about your career in sound for film?
Maslow: I started off in records.
...
Maslow: I would take the left and right track of a 2-track and run them through a couple of panners, fold it in a little so the left and right contributed to the center just a little bit.
...
Maslow: One of the engineers or mixers mentioned it and told me about a device that would take a 2-track and make a 5.1 out of it and I said, "Let's check it out! and that's how I came to use it.
Penteo: What type of music do you use Penteo on? Does it perform better for rock, pop, symphonic, sound effects?
Maslow: Actually, everything sounds great with Penteo, and I'll use it on any 2-track mix that I get.
...
Maslow: Yes, typically I don't go straight across on the outputs.
...
Maslow: It's easy.
...
Maslow: To be honest, I haven't played with all the parameters. If I have nobody on the stage with me I would have the time to experiment, but that is rare. Generally, I just use the default settings and it works great for me.
Penteo: Has Penteo helped make your job any easier?
Maslow: Yes.
...
Maslow: I would tell them to take a deeper look, because there are some great parameters that you can adjust. For example, adjusting the intensity of the Ls/Rs.
...
Maslow: I've never experienced any artifacts through the Penteo, so as long as that's not happening, I'm good to go with it. It sounds clean and I'm impressed with it.
Penteo: What are some recent stereo-to-surround projects you have worked on?
Maslow: I just finished a film called "Tammy.
...
Maslow: I just used it on the opening cue on "Tammy," the record was a classic released in 1986, and it sounded great in 5.1.
Penteo: If I ask you to summarize your Penteo experience just down to one sentence to share with a friend, "Hey Steve, what are you doing here? What's this thing anyway? How would you explain it in a nutshell?
Maslow: For me now, Penteo is an essential workflow tool.
Surround Master Class - Perfect Surround
perfectsurround.com [cached]
Class #2: Steve Maslow, Re-recording Mixer, Warner Bros.
hold me / edwardSCISSORHANDS
scissorhands.evendim.org, 7 Nov 2006 [cached]
Steve Maslow .... sound re-recording mixer
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