Soundtrack helped revolutionize the area audio post-production industry when commercial music composer Rob Cavicchio opened his first facility in Boston in 1978. Coming from a music industry background, Cavicchio applied a combination of creativity, business savvy and an understanding of the service needs of the commercial community to a business that had often been compartmentalized between studio, agency and talent. Soundtrack was ahead of the curve, moving aggressively into the areas of digital workstations and ISDN networking. It hasn’t looked back since.
The ten-room Soundtrack New York facility opened its first studio in 1985 and has become the cornerstone in a continually evolving company that now encompasses audio post for commercials and films, as well as music mixing. The Boston and New York facilities often operate as one, with Soundtrack pioneering the use of ISDN and 3D2 data and audio transmission technologies. For Boston agencies working with New York talent, getting talent in one city to tracks in another, and allowing all of its clients to stay involved at every stage of a project’s post progress, was a big plus. “We were one of the first post facilities to have multiple locations, so we jumped on satellite and other transmission technologies early on,” explains Soundtrack COO Christopher Rich. “As a result, we became comfortable with it and we’ve remained so ever since.”
Soundtrack was also one of the first audio post facilities to establish itself in the now-fashionable Flatiron District of Manhattan. It was there that the company built its new post studios, all designed by the renowned Jim Falconer, providing remarkable technical and aesthetic consistency throughout the facility. In fact, once inside, one hardly knows it’s Manhattan, with a comfortable and friendly environment and homey touches, such as Cavicchio’s collection of vintage radios lining the walls.
Soundtrack has accumulated significant credits, from acclaimed national advertising spots for Hill Holiday (they mixed the William Shatner/Priceline.com spots) and Lowe Lintas (long-running GMC campaign), to recent spots for British Airways, Colgate and Burger King. Soundtrack is also the site for much of the promo work for Oxygen Media, and they were responsible for final mixing for several films that have garnered Grand Jury Prizes at the Sundance Film Festival.
The facility’s recording studios are sought out by leading producers and engineers, such as Andy Wallace, who has mixed at Soundtrack for multiplatinum artists such as Phish, Ben Folds Five, Silverchair, Soul Asylum, Limp Bizkit and Sheryl Crow.
Another major Soundtrack asset is its staff of 75 people between two facilities, which includes such leading creative talents as Bill Bookheim, Scott Cannizzaro and Tony Volante among their staff of mixers, sound designers and engineers in New York. “This whole facility and the entire staff is built around the notion that service is the primary thing and that the client is king,” says Rich. “There are a lot of resources out there for talent and technology. But we’ve all got to be humble and remember that we’re only here to serve our clients.”