Issue link: https://digital.copcomm.com/i/1545202
C I N E M A A U D I O S O C I E T Y. O R G 71 While not the scope of the Mix Sound for Film and Television events that have been happening since 2014 (with the next one slated for September 26 at Sony Pictures Studios), the tagline of this music production-focused event—now in its fourth year—was "Immersive Audio Meets Straight Ahead Stereo Recording." I looked at the agenda, saw that a couple of my former students were on panels, that there would be some cool demos followed by an evening studio crawl, and that I'd get to hang with Carol and Ceri—sign me up! While I didn't get to attend every discussion (obviously) or see every vendor, here are some things I found interesting. shared insights into how he uses the live room and the vast array of mics and gear to capture in the space. While Phillip's discussion was not score- centric, it was great to hear the acoustics of the room, along with sample recordings of how he records most artists playing live with full bands in order to capture a more organic and natural performance. In the parking lot of RCA was Sweetwater's Dolby Atmos mobile studio—an Airstream whose interior is an incredible sounding mix room. Sitting at the table when I walked in was studio design legend Russ Berger! You just never know who you'll run into at these kinds of events. With the 7.2.4 speaker system hidden behind fabric, and a front visual monitor using a laser projector that only required an 11-inch throw, every inch was maximized for extremely well- balanced presentation. The machine room was on the other side of the "front" wall. Russ shared some insight into how they were able to manage the low end because one has to wonder given the length of the room. The trailer can be towed and parked anywhere for whatever mixing scenario you need. Dolby certified and very cool. Walking over to the Curb 43 studio, API was showing off their AXS console. We installed one in our Studio B at MTSU last summer and I wanted to say hello to some of the folks. In the live room, Sony was displaying some mics and headphones, along with the MDR-MV1 open-back cans that were designed specifically for their Sony 360VME system. [See the article on VME in the Spring 2026 CAS Quarterly.] Sony Senior Product Manager Andy Munitz provided insight The event kicked off at BMG with opening remarks by Mix magazine's Tom Kenny, followed by a panel titled "Bringing the Music Back to Music Row." While the panel that followed, "Breaking In: Launching a Career in Music & Recording," included my MTSU colleague Clarke Schleicher, I walked over to historic RCA Studio A. Along with Columbia Studio A, this is one of the main rooms scoring mixers will use to record score. My former student Phillip Smith, who is the main engineer at RCA, was the focus of a discussion where he With RCA engineer (and former student) Phillip Smith Sweetwater's Dolby Atmos certified Airstream mobile studio. With studio design legend Russ Berger The driver of the Sony MDR-MV1 headphone