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The terms ''sound design'' and ''sound designer'' began to be used in the motion picture industry in 1969. At that time, The title of ''Sound Designer'' was first granted to [[Walter Murch]] by [[Francis Ford Coppola]] in recognition for Murch's contributions to the film ''[[The Rain People]]''.<ref>{{cite book |last1=Ondaatje |first1=Michael |last2=Murch |first2=Walter |title=The conversations: Walter Murch and the art of editing film |date=2003 |publisher=Bloomsbury |location=London |page=53}}</ref> The original meaning of the title ''Sound Designer'', as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the [[dialogue]] and [[sound effects]] recording to the [[re-recording (sound/film)|re-recording]] (mix) of the final track".<ref name=reeves>{{cite web|last1=Reeves|first1=Alex|title=A Brief History of Sound Design|url=http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|website=Advertising Week Social Club|publisher=Advertising Week|access-date=13 October 2015|url-status=bot: unknown|archive-url=https://web.archive.org/web/20160304084311/http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|archive-date=4 March 2016}}</ref> The term ''sound designer'' has replaced monikers like ''supervising sound editor'' or ''re-recording mixer'' for what was essentially the same position: the head designer of the final sound track. Editors and mixers like Murray Spivack (''King Kong''), George Groves (''The Jazz Singer''), James G. Stewart (''Citizen Kane''), and Carl Faulkner (''Journey to the Center of the Earth'') served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name.
The advantage of calling oneself a sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that
The audio production team is a principal member of the production staff, with creative output comparable to that of the [[film editor]] and [[director of photography]]. Several factors have led to the promotion of audio production to this level, when previously it was considered subordinate to other parts of film:
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