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Martyn Harries AMPS in conversation with the post-production sound team behind the latest Spider-Man movie, Spider-Man: Brand New Day. Re-Recording Mixers Onnalee Blank and Greg P. Russell and Supervising Sound Editors Katy Wood and Jack Whittaker (Sound Designer) discuss their favourite scenes, their most challenging moments, and what the best piece of advice was that they were given when starting out.

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.