... sixth was Bergquist, a fifth, sixth Bergquist, and seventh Nankivell.

My own relationship with the Olympics began in 1992 when I was offered the first full-time job as a sound designer.

I went back and listened to every single sport trying to understand why we were covering the sports the way that we were, what sounds were there, and what sounds were really missing and why.

I came from music, I came from a recording studio, and I wanted to apply those techniques and standards to the live world.

And one of the first things we implemented into the Olympics was a lot more close micing.

This is where you put a microphone as close as possible to the sound source.

If you use this technique, you need a lot of microphone because each microphone can only capture a little piece of the whole picture, but you get more detail and definition, and a hell of a lot better sound.

[car engines roaring]