Landing your music on TV and film is some of the most critical and most impactful achievement of any artists. However, there are more facets to making a film production sound appealing to audiences, and that is orchestrated by the often unsung sound mixer working on set. Think about films like Gravity or Whiplash where the entire cinematic experience is built upon the all-encompassing sound emitted.

In a new editorial series, Sound Mixers, we'll be chatting with the people behind the scenes who bring our favorite films and TV shows to sonic life. First up, we're chatting with Nathan Bonetto a New York City by way of Paris sound mixer who has worked on sets around the world. Moving to NYC from Paris, Bonetto has not only worked alongside some of the leading people in his field, but also notable actors, musicians, directors, and more. Boasting a resume that includes establishing his own sound mixing company, SoundYouWish, to gigs for Max Mara, Ikea, Lion Babe, Reggie Watts, and more, Bonetto is quickly emerging as a sought after expert within the sound mixing industry.

We sat down with Bonetto to chat about the technicalities of sound mixing, some insider tips, and the future of the sound mixing industry in film, TV, and music.

What kind of training does one need to be a sound mixer?

You need knowledge of electronics, acoustics, and sound recording. You also have to have immense knowledge of all the different types of sound equipment to be ready for any problems that could arise. You have to understand everything from microphones to the lighting and camera rigs.

What is your dream job?

Working as a sound mixer on an Oscar nominated blockbuster movie, with unlimited budget, and the top professional people in the film industry.

View Bonetto's Sound Reel:

Who are the top people in your field?

Jeff Wexler is a beast. He is an Oscar-nominated sound mixer who has worked on so many movies. His career spans 40 years in the industry and includes films like Independance Day, Fight Club, The Last Samurai, Mission Impossible III, etc.

What kind of advice would you give someone looking to get into sound mixing?

To start as a boom operator or sound assistant, working with senior sound mixers as mentors so they can teach you the job and show you all the techniques needed is essential. Additionally, being present on set, having good communication, showing professionalism and authority if needed, is all key to gaining respect among your peers. Most importantly, meet as many people in the film industry as possible.

Are there any improvements that could be made in the profession?

The sound department is a little bit underrated. In the indie film industry, it can sometimes be difficult to negotiate rates as often time the value a sound mixer is bringing to the production is not respected. Some producers still don't understand that sound equipment costs money- as much as camera equipment. Producers are most likely ready for booking multiple assistant cameras, but neglect the need for hiring a sound assistant as well. Sound mixers should always work with at least a boom operator on any movie projects, and also a sound utility person when needed- think of it like an assistant camera for director of photography. Sound quality is as important as picture quality, so sound mixers need to be compensated equally, receive the same quality of equipment, and be treated as much of a necessity on set as everyone else.

Where do you see yourself in five years?

Still in the film industry, working on commercials or feature films with bigger production companies.

How did you get into sound mixing?

I received training at a film school called ESRA, where I was studying sound for film in France for three years before I moved to New York City. I started to work on small projects like short films with students and indie filmmakers as a boom operator. I learned sound mixing from working alongside professional sound mixers on numerous projects. It required a lot of networking and relationship building to make my way in the industry. Now, I've started my own company, SoundYouWish, alongside another sound mixer. Our company focuses on producing all of the sound aspects for the film- from on set to post-production. We're growing the company in New York City and have been hired on projects for Ikea, Max Mara, Polaroid Eyewear, projects with Paul Starkman who is responsible for hit series like Top Chef, Ink Master, America's Next Top Model, and more.

What is your favorite film or video because of sound design?

The sound design on Drive, directed by Nicolas Winding Refn, is one of the best I've heard. It's incredibly powerful during the main scenes featuring the car. All the aspects you hear- the police radio, car engine, helicopters, etc- are all created on set and enhanced in audio post-production. The sound design on Mad Max : Fury Road is also very impressive as well.

Connect with Nathan Bonetto:

Email | Facebook | Instagram | LinkedIn