Bryan "Froggy" Cross

Relation to the Film: Connected via Daniella Peters, whose early career at Rat Sound placed her at the heart of Coachella’s production and large-scale touring deployments — a direct link to the film’s themes of innovation, logistics, and the people behind legendary live shows.

Relation to the Film: Linked through Bad Bunny’s acting role, adding to the film’s playful crossover of singers as actors and actors as singers.

Relation to the Film: Connected through Ruben Rodriguez, who staged a guerrilla-style speaker demo in our filming room at NAMM to score the best spot in the building.

Relation to the Film: Linked via Ruben Rodriguez, who used our NAMM filming space for his MURO speaker demo in a bold guerrilla move.

Relation to the Film: A staple in the Clear Tune Monitors artist roster and personal friend of founder César Milano, who shares a memorable Bad Bunny story in his main teaser.

Relation to the Film: Jerry Harvey toured with — and is currently touring with — the band, making it a prominent part of his origin story featured in the film.

Relation to the Film: Connected through Steve Wozniak, a huge fan of in-ear technology and special guest during the first filming of the documentary at NAMM in Anaheim — with rumors swirling that he served as boom operator, to the surprise of everyone in the chair.

Relation to the Film: Connected through Hovannes K., whose behind-the-scenes production work influenced the chill/lounge style heard worldwide, though his name remains absent from official histories. He only sat with us as a personal favor to Mike Dias and Hovannes happens to be a HUGE fan of the underlying tech still producing on his original sets.

Relation to the Film: Connected through Tal Kocen, the last remaining voice of Westone, and Dave Friesema, who spoke for Etymotic — two founding brands now absent from the market. Their creation of Dark Matter Audio carries forward the heritage and legacy they represent in the film.

Relation to the Film: The true origin story of the in-ear monitor revolution began when Jerry Harvey, touring as Van Halen’s monitor engineer, needed a custom monitoring solution for drummer Alex Van Halen — a pivotal moment that launched the technology at the heart of the film.

Relation to the Film: Exists solely to immortalize the running gag about Scott being “hung like a horse” — preserving the joke in the lore and legend layer for future generations of insiders.

Relation to the Film: Connected through Dr. Michael Santucci of Sensaphonics, who serves as a consultant on hearing health conservation — a major theme of the documentary and Santucci’s lifelong mission.

Relation to the Film: Connected through Brian Geller — Sales Director for Ultimate Ears by day and lead singer of The Atomic Punks by night. The irony of a tribute frontman existing alongside actual Van Halen legends is not lost on Brian, Jerry, or Diamond Dave, who famously sends Jerry to Punks shows when scouting new guitarists for the real band.

Relation to the Film: It is the movie — the central hub from which every connection, cameo, and lore node spirals out, including itself. The ultimate recursion: Can I Get a Little More Me is forever connected to Can I Get a Little More Me. and really - can I just get more me?

Relation to the Film: Initially slated to feature Slash and Duff, the production was ghosted and offered Dizzy Reed at the last minute — a far cry from the original plan. The twist led to a pivot that brought Billy Bob Thornton into the mix as an unexpected and perfect alternative, creating one of the film’s most memorable casting turns.

Relation to the Film: The birthplace of the film’s concept — seeds for the documentary were planted here amid conversations with industry veterans and innovators who would go on to become central figures in the story.

Relation to the Film: Home base for Clair Global and the site of THE Conference, where the seeds of the documentary were first planted among industry leaders and innovators.

Relation to the Film: Central to the live sound ecosystem featured in the film — Clair’s innovations, culture, and network underpin much of the story, with its home base at Rock Lititz serving as a key location in the movie’s origin.

Relation to the Film: Tangentially connected through Rick Renner — present the night of THE Conference when the film’s concept was born — who later joined Bose Professional after his tenure at Shure.

Relation to the Film: Founded by Marty Garcia, a central legendary figure in the industry and referenced often in the film, who was among the earliest to adapt Garwood radio transmitters for in-ear use — a breakthrough that helped launch the entire IEM industry.ds

Relation to the Film: erry Harvey’s second act — proof that lightning can strike twice — with JH Audio cementing his legacy as a two-time pioneer in the in-ear industry and a central figure in the film.

Relation to the Film: Connected through Billy Bob Thornton and J.D. Andrew — key figures who weave together music legend, engineering pedigree, and cinematic crossover in the film. Most people don't know this but before Sling Blade, BillyBob ran sound and was a halfway decent monitor engineer.

Relation to the Film: Connected through Eric Hruza — the Hal Blaine of in-ear design — whose tuning fingerprints are on nearly every major IEM in existence. If you like what you’re hearing, there’s a 99% chance Eric helped make it sound that way.

Relation to the Film: Connected through monitor engineer Chris Lee — whose skill, presence, and star power easily rival the frontman’s, no matter what the billing says.

Relation to the Film: Connected through monitor engineer Chris Lee — proving his versatility and demand at the highest levels of touring, even if industry politics mean we keep certain names in separate sentences.

Relation to the Film: Connected through monitor engineer Chris Lee, whose behind-the-scenes expertise supports her powerhouse performances — yet he remains the one name you won’t see in the spotlight.

Relation to the Film: Connected via monitor engineer Jason Batuyong and assistant music director/pianist Scott Simmons, both of whom keep the high-stakes, multi-act production running flawlessly behind the curtain.

Relation to the Film: Connected through Froggy — their production manager, who appears in the film, offering insight into the logistics and artistry that keep legendary acts touring at the highest level.

Relation to the Film: Connected through CJ Eriksson, their monitor engineer and studio collaborator, who brings rare behind-the-scenes perspective on maintaining sonic excellence for a band of U2’s global scale.

Relation to the Film: Connected through Kevin Glendinning, one of the world’s most in-demand touring monitor engineers, whose work ensures Lorde’s intricate live sound translates perfectly from stage to audience.

Relation to the Film: Connected through Kevin Glendinning, whose precision as a touring monitor engineer keeps her dynamic live shows flawlessly tuned from intimate ballads to stadium anthems.

Relation to the Film: Connected through François Paré, the band’s monitor engineer, who brings the precision and creativity of arena-scale mixing into the in-ear monitor conversation featured in the film.

Relation to the Film: Connected through Peter James, Audeze’s Director of Marketing, whose early involvement with Ultimate Ears during the launch of their Super.fi universal headphones helped bridge the pro-audio and consumer audiophile worlds represented in the film.

Relation to the Film: Leading in-ear monitor brand with a dominant presence in the Latin music market, known for custom-fit models favored by top touring artists.

Relation to the Film: Connected through founder Dr. Michael Santucci, a pioneer in the field and consultant to the World Health Organization, whose life mission of hearing health is a central theme of the film.

Relation to the Film: Connected through Moto Yamasaki and the founder’s daughter, Toshi — a respected leader in global touring whose network and influence helped shape the international adoption of in-ear technology.

Relation to the Film: Connected through Moto Yamasaki, whose work with MSI Japan includes writing the definitive in-ear monitor training manual — a guide that has shaped how monitor engineers across the region work to this day.

Relation to the Film: Connected through Executive Director Mike Dias, whose leadership links the organization’s global mission to the people and stories featured in the film.

Relation to the Film: Connected through founder Jerry Harvey, IEMITO Executive Director Mike Dias, and Sales Director Brian Geller — all central figures in the film’s origin and storytelling.

Relation to the Film: Connected through drummer Jeff Tortora — a prominent voice in the film — whose past relationship with Mindy Harvey (co-founder of Ultimate Ears) gave him a front-row seat to the company’s earliest days and backstage dynamics.

Relation to the Film: Connected through German Tarazona Llano — Maluma’s live sound engineer — whose on-tour expertise and in-ear mix work extend the film’s reach deep into the Latin music scene, reinforcing the technology’s role in high-energy, stadium-scale performances.

Relation to the Film: Connected via Daniella Peters — Senior Manager, Production Audio for Harman International — whose career spans from Rat Sound Systems to orchestrating major events like Coachella, bringing first-hand production expertise and brand influence to the film’s story of live audio evolution.

Relation to the Film: Connected via Tal Kocen and Dave Friesema, who represent the legacy voices of Westone and Etymotic in the film. Their time at Lucid Audio bridges the industry’s pioneering roots with the modern corporate era — setting the stage for their eventual founding of Dark Matter Audio.

Relation to the Film: Connected via Tal Kocen, who served as one of Westone’s final key voices before its acquisition by Lucid Audio. His appearance in the film preserves Westone’s legacy and underscores the brand’s pivotal role in shaping modern IEM culture.

Relation to the Film: Connected via Dave Friesema, whose role in the film highlights Etymotic’s status as one of the earliest IEM pioneers. Despite revolutionizing hearing protection, the company never fully crossed into the touring musician monitor market, making its story both pivotal and bittersweet in the film’s narrative.

Relation to the Film: Connected via Chris Leonard, the band’s monitor engineer, whose work behind the scenes exemplifies the precision, trust, and artistry at the core of in-ear monitoring — themes central to the film’s story.

Relation to the Film: Connected via Chris Leonard, whose day-to-day role at IMS Technology informs the technical depth and logistical mastery he brings to his work as a monitor engineer for top-tier touring acts featured in the film.

Relation to the Film: Connected via Chris Gille, Creative Solutions Engineer, whose expertise in immersive worship audio ties directly to the in-ear monitor technology and stagecraft explored in the film — reinforcing the story’s reach beyond touring into fixed-install environments.

Relation to the Film: Connected via Mike Sutton, Brand Manager for DW Drums, who previously played a pivotal role in launching Zildjian’s universal-fit in-ear monitors — a project that helped bring pro-grade monitor technology to a broader musician audience and set the stage for many of the film’s core narratives.

Relation to the Film: Connected via Dennis Stegemerten, Solution Architect for Pro Audio at Sennheiser, whose on-camera moment (including the now-infamous “microphones for the German army” gaffe) underscores both the brand’s deep historical roots and its lasting influence in the evolution of in-ear monitoring.

Relation to the Film: Connected via Scott Sullivan, Vice President of Strategy and Innovation, whose early collaboration and personal friendship with Jerry Harvey played a pivotal role in commercializing in-ear technology—before a dramatic business fallout ended both their working relationship and their friendship.