Author Profile

Thomas Kenny

Mix Editor Tom Kenny joined Mix in 1988 after receiving a masters' degree in journalism from Indiana University in Bloomington. He has written extensively for Mix through the years, developing the Sound for Picture section in 1991, followed years later by a book on the subject. He was named Editor in 2003.

The Making of a Belmont Story

Sometimes a ready-made story, a good one, just falls into my lap. No pitches from publicists; no looking ahead to see who has a record coming out or who is on tour; no enterprise reporting on the State of the Industry or Trends in Post-Production. Just a good story that I stumble on by being out in the world and interacting with people. In journalism, that type of story is considered Found Gold......

All Music, No Distractions

By the time I joined Mix in 1988, the heyday of true “residential recording” seemed to have passed. I was treated to a few stories about the legendary Caribou Ranch, hosting the likes of Chicago and Dan Fogelberg for months on end back in the ’70s, as told by the great engineering team of Jerry Mahler and Rich Markowitz, now of NFL Films. But by and large the idea of a band spending months in......

On the Cover: Breaking Sound Barriers

The late, great Stephen St. Croix had a theory about why audio engineers tended to prefer powerful, responsive, high-performance cars for their lives outside the studio. For 12 to 18 hours a day, he reasoned, they would take direction and respond to demands, no matter how inane or how spot-on. When they got in the car to drive home, alone, it was a matter of being in complete control. Turn down......

Warner Bros. Sound

The history of Warner Bros. Sound is essentially the history of film sound, from the much-talked about introduction of talkies with The Jazz Singer in 1927 on through the present-day embracing of Dolby Atmos and Immersive Sound mixing. It’s not that Warners invented or even had a corner on the market on each new technology or process; it’s just that the company seems to always be at the......

Big or Small, It’s All Sound for Picture

My first real assignments at Mix, once I was finished copyediting and proofreading for the day, were writing about Sound for Film, starting with The Doors movie back in 1991. I’ve mentioned that before in this space, as it’s been an area of the industry I’ve always enjoyed covering, especially the people in and around the edit suites and dub stages. ......

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