NEW YORK (September 30, 2004) —Digital technologies have given fledgling filmmakers and commercial producers editorial options inconceivable only ten years ago. But, digital technology, for all its merits in allowing films to look better and sound richer, presents a slippery slope in part because video editors feel compelled to handle sound as well as picture. Add to that music composers dabbling in sound editing and mixing, and the potential of a sound design gets diluted to a minimum. Rich Macar owner of Buttons Sound in New York City says, “A good sound design is more important than you can imagine, as a matter of fact, it is all imagination. Sound is the feel of the project, music is the emotion. Allowing music to dominate a mix is short changing your project, because a good sound design can mend and smooth picture edits and elevate a film or commercial to a new level of sophistication in ways music alone cannot.”

Recently, Buttons Sound found itself uniquely positioned to help the creators of the independent film Xtacy with sound design and mix. The film was shot in High Def, which provided a film-like high quality picture, and inspired the producer/director’s interest in obtaining a 5.1 surround sound. The question was how to achieve Dolby Digital surround with a limited editing crew and within a reasonable budget. As a small independently owned company itself, with Dolby certified suites, Buttons could offer the type of service that the filmmakers were looking for within their timeframe and budget. Buttons’ independent spirit, dedication to the technology, and passion for the craft of sound gave rise to meet the challenge. To further increase efficiency, Rich felt more DSP (digital sound processing) power would help, and upgraded Buttons’ Padauk Suite, a Meyer HD1 surround room, to Pro Tools HD2, which allowed unlimited tracks and plug-in processors eliminating any technology hurdles resulting from the inherent demands of the Dolby Digital 5.1 surround format. Paul Levin, a sound designer/mixer since 1995 who cut his teeth under Macar at Buttons, sound designed and mixed the film at Buttons. The film was successfully screened at Magno NY, where Dolby created the magneto optical for final Dolby Digital film optical transfer.

Surround sound was integral to this film, about a struggling artist yielding creative genius while dramatically slipping into insanity. Director, Tommy DeGrezia, and Levin worked together to come up with a concept for the sound; an abstract design with strange noises that shoot like electric shocks, as the artist has visions during his descent into madness. In this film, the dramatic sequences of the mix take place in the sub-woofer, a sixth speaker in the configuration of surround sound, that produces the powerful low frequencies creating a sound that “feels” good.

Rich Macar believes that, as home theatres become established in every home, sound design is essential. He predicts that, though Buttons has been producing surround sound since 1998 and recently became a Dolby Partner offering Dolby E for High Def projects that include the same 5.1 surround format as Dolby Digital and DVD, Buttons will be sound designing and mixing all projects in surround 5.1 within the next five years.

Buttons, NY has been sound designing and mixing in New York since 1988, working on feature films, television shows, and advertising spots. Clients include BBDO, DDB WW, Publicis, Pokemon, HBO, Warner Bros. Buttons specializes is live action sound design, animation, and surround sound for DVD, Theatrical films, and HD TV.

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For more information on Buttons Sound please contact:
Amanda Berlin Public Relations
212.253.0143
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