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    Taking a look at your list of credits, it is clear that you have a passion for Sound. Where does that passion come from? What got you started? Mike McDonough : As a child growing up in Los Angeles our family friend was part of a children’s television show Saturday mornings on KTLA-TV. I remember being in the audience and marvelling at how he could talk into a microphone and every kid who watched this show could hear and see him in their own homes. He also did remote school choir recordings in the LA area, and I would go along with him and help set up the mics. As a result of this, I found myself at age 8 years old with a small battery powered reel-to-reel tape recorder going around the neighbourhood recording sounds. It just fascinated me to be able to capture sounds and keep the recordings. I realized even at that young age, I felt there was something magic about that.I soon found myself taking ideas from news periodicals I read in school and fictionalizing them into wacky radio scripts, and recording them with my friends playing the parts into my microphone. I’d then figure out how to take music and sound effects from records and make little dramas out of them. This began my love affair with sound.Meeting author Ray Bradbury as a young man at the Whittier Public Library led me to explore his world of fantasy writing, and after becoming friends with him, I was able to secure a grant from National Public Radio to produce a 13 part radio drama series called “Bradbury 13” for NPR Playhouse. That series won a Peabody Award, and got me noticed by a few people in the TV and Film industry. Soon after that, I was recording and delivering original sounds for TV shows being edited and mixed at Horta Editorial in Burbank, like “LA Law”, “Remington Steele” and “The Twilight Zone”. I even did some ghost sound design for Mickey Hart of the Grateful Dead for a TV series he was scoring.At about the same time, I was privileged to become acquainted with Ben Burtt, who was just starting his legendary sound design career with George Lucas. Ben made a trip to my home in Utah, and soon we were out in the Utah desert recording bullet ricochets for “Indiana Jones and the Last Crusade” together. Ben also landed me my first film job as sound designer on Disney’s “The Black Cauldron”. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.