2019 ERIC THORSELL

This year’s audio wave goes to a person who, with more than 30 years of experience in the industry, has long been something of a myth and foreground figure in audio for commercials / art films / music videos. Most likely, everyone who works in Sweden to produce this many times admired his work, but few have met this uncrowned witch master.

Through customers, friends and colleagues, it has always been talked about his incredible talent, knowledge, curiosity and above all dedication to the profession and in the 1990s he set a high level of quality in what could be called “the modern sound design” which impresses, imitated and fascinates even today.

2012 Ulf Olausson

For his great talent in Foley which is widely appreciated. The foley he delivers is always extremely complete and well-made. The business he has built up in the harbor is unique and he also has the ability to engage talented employees. That he is also  a very nice and service-minded person makes him well liked by both close employees and the entire industry. His dedication and history in the Film industry is both admirable and inspiring.

201O TOMAS KRANTZ

This year’s Sound Wave Award goes to one who has done sound editing on more movies than most of us. For anyone who has worked with him and is impressed by both his work and his concern for his fellow workers, he is an obvious choice for the award.

2007 CARL EDSTRÖM OCH JOHAN SÖDERQVIST

Carl Edström is awarded the sound wave in 2007 for the uncompromising quality of any of his many films, regardless of genre. Last we could see and hear this in “Arn”.

Johan Söderqvist – composer who surprises and creates music in harmony with each film’s own character. Not least we hear this in the music of the movies” Let the Right One In” in and “Things we lost in the fire”.

2006  HANS BARKMAN

This year the award went to Hasse Barkman with the motivation:
“A much appreciated rerecording mixer who, with creativity, enthusiasm and persistence, takes on production after production. How he has countless times helped his colleagues with technical and non-technical problems, managed his own work and also had time to run Cinema Möja , only Hans Barkman himself knows…
Of course he receives the Sound Wave Award 2006 “

2005  LENNART FORSÉN OCH ULF MALMROS

This year two awards were given.

The  first one to the film director Ulf Malmros with the motivation:
“Ulf’s vision of a total cinematic experience – where the sound plays at least as prominent a role as the image – begins at the script stage and then continues through the film set, cutting room and sound creation all the way to the final mix. A combination of an unwavering commitment, unique sound interest but also technical know-how have paved the way for, and inspired the sound crew to realize Ulf’s visions. ”

The second sound wave was awarded the sound engineer and rerecording mixer Lennart Forsén from SVT in Gothenburg:
“For many years, he has contributed to many Swedish films and TV series getting even better thanks to his careful and sensitive sound. Even during dialogue editing he goes an extra mile . Small sounds from the sync are moved around and tell the story. Finding the exact right sound effect is important for this acoustic sound man. His sign may well be described as “less is more”. Both as a freelance and for a few years as the only employee sound editor / mixer at SVT’s Drama department in Gothenburg, his works is heard in conjunction with directors such as Vilgot Sjöman, Kjell Grede, Janne Halldoff, Agneta Fagerström-Olsson, Peter Schildt, Carin Mannheimer and Kjell- Åke Andersson and others ”

2004 SVEN E CARLSSON

This year’s sound wave award was distributed at the annual meeting. This year it went to one of our honorary members, Sven E Carlsson for his brilliant work on his website. For those of you who have not yet been there, a visit is really recommended. The address is www.filmsound.org.
This is what the motivation was:

“There are many in our industry who are worthy of all the admiration and encouragement and in addition an award. But the vast majority of us are professionally engaged in what we do, it is our profession. But there is also an other kind that is just driven of their interest, their own devotion.

Sven E Carlsson is a spirited person. Without the least financial support, Sven E has devoted tremendous effort and a great deal of his time to creating the planet’s most significant forum for all filmmakers, all film school students, and the rest of the world for all film sound geeks.

filmsound.org and sound-article-list are masterpieces created by a master. Furthermore, that a website read by colleagues around the world is Swedish, we are extremely proud of it.

Thank you Sven for your incredible commitment and as a small gesture for our appreciation, we want to hand over this year’s sound wave to you. It is very well deserved. “

Even from Hollywood, there have been reactions to the award to SvenE. Here’s how Randy Thom, one of the most renowned Sound Designers, writes:

For everyone on our planet who is interested in Sound Design, as well as those yet to be born who will be interested hundreds of years from now, Sven Carlsson has made a deeply valuable contribution by creating filmsound.org and sound-article-list. What a magnificent achievement! With little or no funds from the outside, and working entirely on his own, Sven has created a center of interest for practitioners of sound design, students, academics, and film sound buffs by the thousands. I visit filmsound.org and read the list daily, and I find it a wonderful resource of ideas that improve the quality of my own work.

Thank you, Sven!

Randy Thom
Skywalker Sound
/ Marin County, California

2003 JÖRGEN HASSELBLAD

Jack Foley made sync effects for the first time to the Universal Pictures movie “Show Boat / Theater Boat”, directed by Harry A. Pollard. The movie had been recorded without audio, but the success of Warner Brothers with audio films also made Universal producers want to “jump onto the audio train”. So Jack Foley had to make sound effects to the picture, while Joseph Cherniavsky was also conducting a 40-man orchestra. That’s how it started. The film premiered in 1929. Jack Foley continued to work with sync effects at Universal, and he became a master of the profession.

Today we use the word Foley without thinking so much that it is actually the name of a person. For us, it means simply sync effects, steps and rustling, all the sound you can find, and we usually order it from our own eminent Foley Artist – Jörgen Hasselblad. When we think of sync effects, then Jack Foley has to stand back for the Hasselblad phenomenon. For us, Foley is something that is done with great empathy in a farm house studio in the deep Huddinge forests.

2003 PELLE LÖNNDAHL –  Specialpris, Ljudvåg i guld

There is one among us who always gets their environment in a good mood. In his company you often feel that you stand and laugh loudly, despite being against one’s nature.
I think you know who I mean.
Right: Pelle Lönndahl.

As a 20-year-old he started as a sound engineer at the Centrumateljéerna, later Sandrew Ateljéerna. The year was 1944. There he worked until the closure in 1960.

After a time on Radio Nord, he came to the Film School which eventually came to be transformed into the Dramatic Institute. He firmly states that he had no educational knowledge at that time. It’s not true. I who had the privilege of getting to know him already during the Sandrew era have learned a lot through his practical pedagogy. Those who have had him as a teacher have come to appreciate his ability to be both firm and gentle. A good educator, in other words.

Many of us have learned from Pelle’s experiences over the years, to our delight, have noticed that he never forgot neither students nor colleagues. Pelle cares in a way that is unique, and that you would like to see more of today. In fact, the teacher most students who have attended D rememberI, ie not just audio students,, it is Pelle Lönndahl.

To the sound engineering and human guiding star that Pelle is and always has been, it is today a great pleasure to hand over our special SOUND WAVE in gold. No one has made himself more deserving.

Ulf Park

2002 STEFAN LJUNGBERG

“Among us film sound technicians there is a professional group whose results we all depend on. Yet these guys (because they are almost always guys), very rarely get any appreciation and let alone some awards. At most, they get banned when they fail at some point.

Of course, this is about our sound recordists.

In an environment where everyone else in the team works for the best of the image, these patient people should, as imperceptibly as possible, try to take their rightful place. So they, with millimeter precision, in both side height and depth, should precisely place a microphone attached at the end of a long and swaying boom. In addition, one should preferably know both the actor’s lines and the outline of the movement. This is a task for a, in the true sense of the word, true equilibrium.

In Sweden we have a true champion in this field. A man who, year after year, does a phenomenal job, in addition with the sparkle in his eye. The fact that he is also a god-blessed sound-maker does not make things worse.

It is with pleasure and pride that the FSFL Board awards this year’s Sound wave to Stefan Ljungberg. “

2001 LASSE ULANDER

This year the award went to Lasse Ulander, and the motivation is:
“The Swedish Film Sound Association’s big prize, Ljudvågen, this year goes to one of the film workers’ most well-known and respected names. For decades, with unparalleled dedication and total selfless dedication, he has in every way given his utmost. Not just for the sound technology itself, not just for the will of a director, but especially for the film. For the expression, the story and the entirety..
Over the years, he has taught us an approach to our work where we can utilize and refine one of the great storytelling tools in film art, namely the film sound. All of us others have enjoyed being able to see a champion in full and tireless action. “