New York Metro
By Paul Verna
 
Let Frida ring: The words “Oscar-winning film score” conjure up images of a symphony orchestra, a huge recording space and a control room large enough to accommodate a committee of creative and technical people: composers, producers, engineers, mixers, supervisors, etc. If there is a downsizing trend in the music recording business — which few would dispute — then the film-scoring community seems immune to it. more...

The musical score by Ryan Shore also makes good use of the five channels... some excellent sound trickery including haunting voices coming from throughout the room... a rich and fulfilling sound mix.
-Mark McLeod (Current Film) reviewing the 'Vulgar' DVD

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Lawrence shares some of his Pro Techniques with Digidesign Magazine readers:
 
Pro Techniques 1 — Using playlists to keep cue takes organized
Since time was big money, Manchester had to work fast to avoid interrupting the session's flow. more...
 
Pro Technique 2 — Creating large orchestral overdub sessions on the fly
"Elliot [Goldenthal] will often ask for multiple layered tracks of a single instrument, which is not so unusual, but he might also ask for an entire orchestral or big band overdub, or perhaps several layers of multitracked drums. more...
 

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Lawrence Manchester Makes His Mark on Hollywood
By Mike Giuliano
 
A 1995 graduate of Peabody’s Recording Arts and Sciences degree program, Manchester has become a noted film score recordist and mixer in the past few years.
 
Moviegoers who enjoyed the classical music-drenched The Red Violin, the Apollo 11 moon landing-themed Australian comedy The Dish, and the brutally distinctive take on a Shakespeare drama provided by director Julie Taymor’s Titus Andronicus know that these motion pictures wouldn’t be nearly as effective without the soundtrack savvy of a recording engineer like Lawrence Manchester. more...