Murray Allen

I began performing as a professional musician at a very early age. Some of the more famous bands with whom I worked were Glenn Miller (Tex Beneke), Sauter Finnegan, Bobby Sherwood and Skitch Henderson. I backed up artists such as Perry Como, Frank Sinatra, Tony Bennett and Frankie Laine. During this period I had my own orchestra at the Hilton Hotel in Chicago for two years.

Some of the more famous jazz musicians with whom I had the privilege of performing include names such as Bill Evans and Mel Lewis.

As a recording studio musician, I performed on sessions with Stevie Wonder, Andy Williams, The Chicago Symphony Strings, The Platters plus many more. I then decided to became a recording engineer. I engineered sessions for Ramsey Lewis, Sammy Davis Jr., Steve Allen, Duke Ellington and Stan Kenton among others.

In the early seventies I became President of Universal Recording, one of the largest studios in the United States. Duke Ellington in his biography calls Universal his favorite studio. While at the helm of Universal it was nominated three times for the TEC award. Universal won several Clio’s and also had numerous nominations for Emmy’s & Grammy’s. In the seventeen years that I ran Universal it had an average increase in profits of 17% per year. Universal also ran a cassette manufacturing plant duplicating for CBS Records and Motown. During this period Universal employed over 400 people.

Universal was responsible for recording Metallica, Police, Prince, Aerosmith, “Back Draft” (which won an Oscar for sound), “Top Gun”, and “The Blues Brothers Film” among hundreds of other artists and feature films. In addition, Universal and I were instrumental in developing many of the systems used today in modern postproduction. Universal was the first studio in the U.S to use digital technology and Digital Workstations in the creation of television programming and commercials. Universal was one of the first studios to offer video sweetening in 1971, some years before time code. After selling Universal, I joined Electronic Arts in 1993, and served as the Director of Audio Production.

In 1994 I was promoted to be Director of the Video Operation in addition to my audio duties. I have since taken over the directorship of the Customer Support Department, the EARS Testing Department, QA, Archive as well as being in charge of the localization for all Redwood Shores including EAD products. During 1999 I was promoted to Vice President.

In addition to the films mentioned above, some of the more than 250 film and TV sound tracks attributed to Universal while I was at its helm were, “Jack & Mike”, “Hoosiers”, “Flatliners”, “Say Anything”, “Crime Story”, “Miss Missouri”, “Witches of Eastwick”, “Brighton Beach Memoirs”, “Major League”, “Miami Vice”, “The Kennedys of Massachusetts”, “Next of Kin”, “Hallmark Hall of Fame”, “Steel Magnolias”, “The Equalizer”, “The Package”, “The Operation”, “The Mary Thomas Story”, “Sea of Love”, “Women of Brewster Place”, “Against The Mob”, “Thanksgiving Day”, “Home Alone”, “Dillenger” and “Midnight Run”.

In addition, I designed and built the audio studio used by Oprah Winfrey in the broadcast of her daily syndicated show. I also serve as the Sound Designer on the Recording Academy’s Annual “Grammy Award’s Show” for the last twenty years.

I am an active member of the Audio Engineering Society. I was Chairman of the Technical Education Committee for the National Academy of Recording Arts & Sciences and presently serves on their Archive and Preservation committee. I am the former Chairman of the Society of Professional Audio Services. I have lectured at De Paul University, Vanderbilt, New York City University, University of Colorado, Dartmouth and the University of California. I have had numerous technical articles published in trade magazines. I have also acted as a consultant to Ernst & Young relative to mergers and acquisitions for their show business clients.

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