Bob Walter -- a brief overview bio
Bob Walter has spent the last three decades honing a wildly diverse set of skills that have meshed seamlessly in his current career phase as a producer/director and reader of audiobooks.
He is a founding member of the Company Theatre -- the first small theater group west of the Hudson River to receive a grant from the National Endowment for the Arts.
He is a music producer and sound effects designer who has worked on films that run the gamut from Halloween to The Brave Little Toaster to Apocalypse Now and major theme park attractions for Universal Studios and Walt Disney.
He has written scripts for a range of special venue presentations that include Japanese theme park attractions, 360˚-Theater presentations for Iwerks, and an award-winning film the National Geographic Society ran in their museum-space for over 10 years.
A published columnist, editor and author, he is also the co-creator of CUE --The Film Music System, a piece of software that became one of the industry standards for film music editors and composers.
Now he has simplified the complexities of his past production life and is hundreds of projects into the calm . . . quiet . . . vastly simplified "one actor/one mike" life of an audiobook producer/director/reader who now only deals with situations like actors coming into the studio with half their face paralyzed by Bell's Palsy, jackhammers tearing up the street outside the studio, highly dyslexic authors in need of extreme support to read their own book and instructions from the publisher to ship fully edited and music-mixed productions three days after leaving the studio.
As a reader he brings a unique perspective into the booth. When you have directed many of the finest readers in the business, you have the opportunity to hone your craft based on an observation of their talents and techniques. Right now his toughest assignments are the ones where he directs himself, because as he says: “The director is kicking my butt. He demands a lot and sets the bar really high. But I wouldn’t have it any other way.”
He is a founding member of the Company Theatre -- the first small theater group west of the Hudson River to receive a grant from the National Endowment for the Arts.
He is a music producer and sound effects designer who has worked on films that run the gamut from Halloween to The Brave Little Toaster to Apocalypse Now and major theme park attractions for Universal Studios and Walt Disney.
He has written scripts for a range of special venue presentations that include Japanese theme park attractions, 360˚-Theater presentations for Iwerks, and an award-winning film the National Geographic Society ran in their museum-space for over 10 years.
A published columnist, editor and author, he is also the co-creator of CUE --The Film Music System, a piece of software that became one of the industry standards for film music editors and composers.
Now he has simplified the complexities of his past production life and is hundreds of projects into the calm . . . quiet . . . vastly simplified "one actor/one mike" life of an audiobook producer/director/reader who now only deals with situations like actors coming into the studio with half their face paralyzed by Bell's Palsy, jackhammers tearing up the street outside the studio, highly dyslexic authors in need of extreme support to read their own book and instructions from the publisher to ship fully edited and music-mixed productions three days after leaving the studio.
As a reader he brings a unique perspective into the booth. When you have directed many of the finest readers in the business, you have the opportunity to hone your craft based on an observation of their talents and techniques. Right now his toughest assignments are the ones where he directs himself, because as he says: “The director is kicking my butt. He demands a lot and sets the bar really high. But I wouldn’t have it any other way.”