May 2024
Steve "Major" Giammaria, a two-time Emmy Award winner, serves as the lead Supervising Sound Editor and Re-Re-recording Mixer for Sound Lounge's renowned Film + Television division.
Best known for his exceptional contributions to the acclaimed FX dramedy series ‘The Bear’, Major's work was recognized for Outstanding Sound Mixing and Outstanding Sound Editing at this year’s Emmys, as well as at the 2023 MPSE Awards for Outstanding Achievement in Sound Editing, and the 2024 CAS award for Sound Mixing.
Originally from upstate New York, Major pursued Sound Recording Technology at SUNY Fredonia. With over 15 years in the industry, he has established himself as a leading figure.
Other notable credits include the Searchlight film ‘Theater Camp’, which premiered at Sundance in 2023 and won the festival’s U.S. Dramatic Special Jury Ensemble Award; the Apple TV+ miniseries ‘The Crowded Room’, starring Tom Holland and Amanda Seyfried; and the A24-produced Hulu series ‘Ramy’. Major's recent credits encompass a diverse array of projects, showcasing his versatility and mastery in the art of sound and mixing.
Time to hear from the man himself…
MASA: You've had a long and distinguished career in sound. What was your first break into the industry and when did you realise that sound was your passion?
STEVE: I went to school for Sound Recording at SUNY Fredonia and thanks to their strong alumni network was able to secure an entry level position fairly quickly after graduation. I have been extremely lucky that I've never left that first job. Sound Lounge has a culture that fosters up-and-coming talent. I had several mentors willing to share their knowledge and experience. I've been here just over 17 years now.
MASA: Double Emmy winner! Congratulations on your well-deserved wins for mixing and editing on 'The Bear’. We'd love to hear how you landed the role and what your experience was like.
STEVE: I worked with EP Josh Senior on a number of projects before The Bear and (creator) Chris Storer on Ramy. I was fortunate that they trusted the team and me with such a sound forward and unique mix. It's been an amazing experience to be part of a show that thinks about sound from the script, through production, editing, and then finally audio post. You can't just wedge this sort of thing in at the end. It has to be built with sound in mind. It's been a real gift.
MASA: Can you tell us about any other pivotal projects that shaped your approach to sound?
STEVE: My first TV gig as a supervisor, High Maintenance, really taught me a lot. I had a champion on the production side that really gave me a shot that opened the door to more TV work.
MASA: You're known for your innovative use of sound. Can you describe a sound effect or sequence you created that you're particularly proud of, and how you achieved it?
STEVE: I don't know if I can think of a specific scene, but it's often not the flashy moments. The quiet, delicate moments that might not even consciously register with viewers are really some of my favorites. If you can evoke emotions without even being noticed.
MASA: How do you balance the use of sound effects, dialogue, and music to create a cohesive emotional experience for the audience?
STEVE: It's a tough dance, especially with something as sonically dense as The Bear, but it's all about zooming out and feeling what element is important at each moment. What serves the story and the emotion of the scene. Having no ego about it and being able to lower or mute entire FX sequences or a music cue, or even the dialogue, if it's not what the scene calls for.
MASA: Beyond technical skills, what would you say are the most important qualities for a successful supervising sound editor?
STEVE: Knowing how to be in a room, how to run the room, manage a job. It's about the nuts and bolts... resource management, delivering on time, on budget. That stuff matters... you can deliver the most amazing tracks, but if they're late, you're fired!
MASA: What new tools or techniques are you excited about that are impacting the world of audio?
STEVE: At this point it's the workflow enhancements that really gets me excited. The "boring" things like Matchbox and Kraken that leave us more time for the creative stuff.
MASA: How is AI being incorporated into your field? And what exciting possibilities with it do you see in the near future?
STEVE: Eh. I'm neither an AI champion or alarmist. I think most tools so far are "meh". I know they'll get better, but right now I'm unimpressed. Some of the dialogue cleaning tools are good to save things, but I feel like everything is so over-processed now. Folks think AI is a replacement for a good ol’ fashioned dialogue edit, and it's not.
MASA: Are you noticing that the roles of sound mixer and editor are being combined increasingly? Positions now often require this mixed skillset? Why do you think this is?
STEVE: Yes I think so. There's still a place for specialists but technology has allowed editors to mix more and vice versa. It just helps when you put something up from an editor that it plays. You expect a level of premixing that just wasn't possible not too long ago. I think it's good for the end product and for budgets.
MASA: What advice would you give to aspiring sound editors who want to follow in your footsteps
STEVE: Listen, be on time, be polite.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
STEVE: Obviously technically sound, but also artistically thoughtful. Does the sound support the story, or is it just flashy for the sake of being flashy? Does it elevate the emotion?
MASA: Thanks so much Steve. Such great insights given here. Thank you for sharing your wisdom and for joining the jury - we’re very lucky to have you on board.
Learn more about Steve, and Sound Lounge, HERE
