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Being committed, and very obsessed with very fine tuned drum kits, instruments and transport deck calibrations. This employed extremely tight [https://www.dunnett.com/products/titanium-t1.php]Dunnett ''titanium snares''<ref>{{Cite web|title=Dunnett Product - Classic Titanium|url=https://www.dunnett.com/products/titanium-t1.php|access-date=2021-05-05|website=www.dunnett.com}}</ref>, these were tightened to breaking limits and snare wires were literally duct tapped with gelatin to the bottom and top heads to obtain distinct drum kit sounds on 1960's era "Slingerland Sparkle", Pearl, and Ludwig. While other kit types that have very unique applications were stripped down do the bare minimum that were used abnormally, to gain highly accurate and drummer play-ability. Influenced by Keith Moons' quick cat like, machine gun snares, [[The Rolling Stones]] and [[John Bonham]] style mic placement. Gaining valuable influences from Johnny Thunders (John Anthony Genzale) and Walter Lure who he had worked with over the years in and out of music. Thunders Playing for The New York Dolls and Lure, The Heartbreakers and Waldos.
Being committed, and very obsessed with very fine tuned drum kits, instruments and transport deck calibrations. This employed extremely tight [https://www.dunnett.com/products/titanium-t1.php]Dunnett ''titanium snares''<ref>{{Cite web|title=Dunnett Product - Classic Titanium|url=https://www.dunnett.com/products/titanium-t1.php|access-date=2021-05-05|website=www.dunnett.com}}</ref>, these were tightened to breaking limits and snare wires were literally duct tapped with gelatin to the bottom and top heads to obtain distinct drum kit sounds on 1960's era "Slingerland Sparkle", Pearl, and Ludwig. While other kit types that have very unique applications were stripped down do the bare minimum that were used abnormally, to gain highly accurate and drummer play-ability. Influenced by Keith Moons' quick cat like, machine gun snares, [[The Rolling Stones]] and [[John Bonham]] style mic placement. Gaining valuable influences from Johnny Thunders (John Anthony Genzale) and Walter Lure who he had worked with over the years in and out of music. Thunders Playing for The New York Dolls and Lure, The Heartbreakers and Waldos.


Much influence and very evident takeaways from his style of microphone rigging. Munsch who would often say [[George Martin]], had a lazed style with the Beatles although they were massive in sales history, they had a horrible sound. Touting that [[Andrew Loog Oldham]], was the [[Rolling Stones]] key, to their entire career success. Then, to go on about "You are either fond of [[The Beatles]] or fanatics about the Rolling Stones; because the Beatles just suck and are mediocre at best". While working on the infamous ECA single, with Violet Society and engineer Scott Stedford, in a typical run down cramped basement, the session was impromptu. Reduced to 1/2 inch reels and very limited mixing desk and outboard equipment, 8 track Tascam equipment. An old mattress, was used to dampen the drum room standing lows of bass waves then to choke out 8 and 5 kHz silence. A simple cardboard box was placed in-between; to tune the speaker and actually "aim" sound at the SM48 microphone from the guitar amplifiers speaker. Bass was Direct signal, AKG C-414 or XLII<ref>{{Cite web|title=C414 XLII {{!}} Reference multipattern condenser microphone|url=https://www.akg.com/Microphones/Condenser%20Microphones/C414+XLII.html?dwvar_C414%20XLII_color=Black-GLOBAL-Current&cgid=Condenser%20Microphones#start=1|access-date=2021-05-16|website=www.akg.com}}</ref> and 2 Sure SM 56,57or 58<ref>{{Cite web|title=SM58® - Dynamic Vocal Microphone|url=https://www.shure.com/en-US/products/microphones/sm58|access-date=2021-05-16|website=www.shure.com|language=en-US}}</ref>, Electro-Voice RE20<ref>{{Cite web|title=Music by Electro-Voice|url=https://products.electrovoice.com/na/en/music-performance/|access-date=2021-05-16|website=products.electrovoice.com}}</ref> bass drum mic and a beat up Electro-Voice<ref>{{Cite web|title=Music by Electro-Voice|url=https://products.electrovoice.com/na/en/music-performance/|access-date=2021-05-16|website=products.electrovoice.com}}</ref> overhead mic. The single was released and sold multiple pressings and is considered iconic. Munsch who was also incessant with slaving the infamous <nowiki>'''</nowiki>Evil Twin<nowiki>'''</nowiki> [Fender] 1965 [Twin Reverb]<ref>{{Cite web|title=A History of the ''Fender Twin Amplifier'' {{!}} Fender Guitars|url=https://www.fender.com/articles/gear/pristine-cleans-aggressive-overdrive-the-fender-twin-story|access-date=2021-05-16|website=www.fender.com|language=en-US}}</ref> 2x12-inch 85-watt output; into the [[Marshal 100-Watt]] 4x12 rig. It would produce a tremendous ripping mid range power, coloring all of his recordings as they rolled onto tape. Constantly complaining about the sound of most '''Marshal''' models, such as 2245, 1959, ''JCM800'', and the ''JMP Super Lead'' that were just to muddy, that had either on or off settings with no valuable no in between sounds only good as a secondary bottom end output amplifier. The Fender twin, Injecting the high-mid's as well as some of the value of coloring coupled with ''complex harmonics'' created by it's circuitry, ultimately gave a venomous bite. Apparently, these maneuvers confused many musicians, engineers and caused quite a few tense moments in the production process. Munsch was into severe and very serious studio time efficiency and did not like to waste anything. This was abundantly clear on tracking full albums in much less time than was typical. Always threatening, and acting on his words, to pull the project if the studio owner, artist or key engineer didn't work to their fullest potentials and was a noted slave driver at the least. The job was completed and the sound was slammed onto tape.
Much influence and very evident takeaways from his style of microphone rigging. Munsch who would often say [[George Martin]], had a lazed style with the Beatles although they were massive in sales history, they had a horrible sound. Touting that [[Andrew Loog Oldham]], was the [[Rolling Stones]] key, to their entire career success. Then, to go on about "You are either fond of [[The Beatles]] or fanatics about the Rolling Stones; because the Beatles just suck and are mediocre at best". While working on the infamous ECA single, with Violet Society and engineer Scott Stedford, in a typical run down cramped basement, the session was impromptu. Reduced to 1/2 inch reels and very limited mixing desk and outboard equipment, 8 track Tascam equipment. An old mattress, was used to dampen the drum room standing lows of bass waves then to choke out 8 and 5 kHz silence. A simple cardboard box was placed in-between; to tune the speaker and actually "aim" sound at the SM48 microphone from the guitar amplifiers speaker. Bass was Direct signal, AKG C-414 or XLII<ref>{{Cite web|title=C414 XLII {{!}} Reference multipattern condenser microphone|url=https://www.akg.com/Microphones/Condenser%20Microphones/C414+XLII.html?dwvar_C414%20XLII_color=Black-GLOBAL-Current&cgid=Condenser%20Microphones#start=1|access-date=2021-05-16|website=www.akg.com}}</ref> and 2 Sure SM 56,57or 58<ref>{{Cite web|title=SM58® - Dynamic Vocal Microphone|url=https://www.shure.com/en-US/products/microphones/sm58|access-date=2021-05-16|website=www.shure.com|language=en-US}}</ref>, Electro-Voice RE20<ref>{{Cite web|title=Music by Electro-Voice|url=https://products.electrovoice.com/na/en/music-performance/|access-date=2021-05-16|website=products.electrovoice.com}}</ref> bass drum mic and a beat up Electro-Voice<ref>{{Cite web|title=Music by Electro-Voice|url=https://products.electrovoice.com/na/en/music-performance/|access-date=2021-05-16|website=products.electrovoice.com}}</ref> overhead mic. The single was released and sold multiple pressings and is considered iconic. Munsch who was also incessant with slaving the infamous <nowiki>'''</nowiki>Evil Twin<nowiki>'''</nowiki> Fender 1965 Twin Reverb <ref>{{Cite web|title=A History of the ''Fender Twin Amplifier'' {{!}} Fender Guitars|url=https://www.fender.com/articles/gear/pristine-cleans-aggressive-overdrive-the-fender-twin-story|access-date=2021-05-16|website=www.fender.com|language=en-US}}</ref> 2x12-inch 85-watt output; into the [[Marshal 100-Watt]] 4x12 rig. It would produce a tremendous ripping mid range power, coloring all of his recordings as they rolled onto tape. Constantly complaining about the sound of most '''Marshal''' models, such as 2245, 1959, ''JCM800'', and the ''JMP Super Lead'' that were just to muddy, that had either on or off settings with no valuable no in between sounds only good as a secondary bottom end output amplifier. The Fender twin, Injecting the high-mid's as well as some of the value of coloring coupled with ''complex harmonics'' created by it's circuitry, ultimately gave a venomous bite. Apparently, these maneuvers confused many musicians, engineers and caused quite a few tense moments in the production process. Munsch was into severe and very serious studio time efficiency and did not like to waste anything. This was abundantly clear on tracking full albums in much less time than was typical. Always threatening, and acting on his words, to pull the project if the studio owner, artist or key engineer didn't work to their fullest potentials and was a noted slave driver at the least. The job was completed and the sound was slammed onto tape.


==Production, post-production, engineering, and mastering==
==Production, post-production, engineering, and mastering==

Revision as of 16:08, 16 May 2021

Martin J. Munsch (August 12, 1967) is an American record producer and recording engineer from Wyckoff, New Jersey, who is known for his innovative recording practices and entrepreneurship. Predominantly working with punk rock, gothic, post-punk as well as sub genre bands. His career has spanned over four decades.

Record production

Munsch founded Punk Rock Records in 1983 and Northern Front as well as Eastern Front Records in 1987. Noted for work with The Ny-Relx She's Got A Gun, U.S. Chaos You Can't Hear A Picture and Violent Society's Not Enjoyin' It, that gained the ranking in top 10 punk albums of the 1990's and 2000's. Violent Society's "The Rise of Punk" received similar acclaim, along with many other singles and multiple reissued items. Munsch has noted mastering credits with Sex Pistols, "Revolution in the Classroom", and The Clash.[1][2] Munsch has operated from Twain Recording, W. Milford, New Jersey, Jackpot Recording, Portland Oregon, Inner Ear Studios, Arlington Virginia, Clearcut Recording, Saddle Brook NJ, The Power Station NY, TOY Format Recording NYC, Max Tracks Albany, Electric Lady NY, CBGB, and Creep Records in Pennsylvania.

Innovative Recording Practices

As a producer alwsys in the role working double as engineer, Marty Munsch would use many different ideas, that involved heavy ambush style type techniques that would range from antiquated to archaic. His insistence on equipment and microphone placement scenarios would drive both engineers and musicians to the brink and sometimes physical exhaustion. He would ultimately achieve his out of the ordinary analogue sounds and overall coloring of his productions exactly as he needed. Some involved, some very basic. For instance; an entire three flights of stairs, in an old telephone switching office building. Noted for solid reflective terrazzo flooring, this echo and delay effect overlapped naturally, akin to room to room convolution, due to many rooms that were on lower floors, used as powerful reflective reverb and delay. This was projected by mid sized guitar amplifiers and later captured and blended into the mix, although involved and time consuming, it made it's mark. It was a very archaic science. This couldn't be found even with the top shelf, modern and very expensive Lexicon or metal plate type reverb units. Sometimes even building his own condenser mics, from torn down parts that would be used and destroyed, during one session. Dynamic mics, Boundary Mics, Shotgun Mics, Bass Mics and Multi-Pattern Mics. Even using worn out wrapped Ribbon mics for heavy underside drum frequencies. Double mic on certain top and bottom patterns were exclusive. Munch was fond of Ampeg SVT[3] head and 8x10 coffin combo and often used kick drum mics with AKG 414-C doubled up with Rolled off high and mid frequencies, to catch the low wavelength rattle and distortion that one combined to cause third and fourth harmonics. They were crushed through the quirky and very infamous URI 1176 limiting amplifiers to create a suffocating gel of bass signals.

Being committed, and very obsessed with very fine tuned drum kits, instruments and transport deck calibrations. This employed extremely tight [4]Dunnett titanium snares[4], these were tightened to breaking limits and snare wires were literally duct tapped with gelatin to the bottom and top heads to obtain distinct drum kit sounds on 1960's era "Slingerland Sparkle", Pearl, and Ludwig. While other kit types that have very unique applications were stripped down do the bare minimum that were used abnormally, to gain highly accurate and drummer play-ability. Influenced by Keith Moons' quick cat like, machine gun snares, The Rolling Stones and John Bonham style mic placement. Gaining valuable influences from Johnny Thunders (John Anthony Genzale) and Walter Lure who he had worked with over the years in and out of music. Thunders Playing for The New York Dolls and Lure, The Heartbreakers and Waldos.

Much influence and very evident takeaways from his style of microphone rigging. Munsch who would often say George Martin, had a lazed style with the Beatles although they were massive in sales history, they had a horrible sound. Touting that Andrew Loog Oldham, was the Rolling Stones key, to their entire career success. Then, to go on about "You are either fond of The Beatles or fanatics about the Rolling Stones; because the Beatles just suck and are mediocre at best". While working on the infamous ECA single, with Violet Society and engineer Scott Stedford, in a typical run down cramped basement, the session was impromptu. Reduced to 1/2 inch reels and very limited mixing desk and outboard equipment, 8 track Tascam equipment. An old mattress, was used to dampen the drum room standing lows of bass waves then to choke out 8 and 5 kHz silence. A simple cardboard box was placed in-between; to tune the speaker and actually "aim" sound at the SM48 microphone from the guitar amplifiers speaker. Bass was Direct signal, AKG C-414 or XLII[5] and 2 Sure SM 56,57or 58[6], Electro-Voice RE20[7] bass drum mic and a beat up Electro-Voice[8] overhead mic. The single was released and sold multiple pressings and is considered iconic. Munsch who was also incessant with slaving the infamous '''Evil Twin''' Fender 1965 Twin Reverb [9] 2x12-inch 85-watt output; into the Marshal 100-Watt 4x12 rig. It would produce a tremendous ripping mid range power, coloring all of his recordings as they rolled onto tape. Constantly complaining about the sound of most Marshal models, such as 2245, 1959, JCM800, and the JMP Super Lead that were just to muddy, that had either on or off settings with no valuable no in between sounds only good as a secondary bottom end output amplifier. The Fender twin, Injecting the high-mid's as well as some of the value of coloring coupled with complex harmonics created by it's circuitry, ultimately gave a venomous bite. Apparently, these maneuvers confused many musicians, engineers and caused quite a few tense moments in the production process. Munsch was into severe and very serious studio time efficiency and did not like to waste anything. This was abundantly clear on tracking full albums in much less time than was typical. Always threatening, and acting on his words, to pull the project if the studio owner, artist or key engineer didn't work to their fullest potentials and was a noted slave driver at the least. The job was completed and the sound was slammed onto tape.

Production, post-production, engineering, and mastering

  • 2018 "A Better Tomorrow", Dysfunctional Youth (CD, EP) Producer Mastering Engineer[10]
  • 2015 "On The Beach", The Accelerators, Producer, Mastering Engineer, Studio Engineer Robert Both[11]
  • 2015 "When I'm Alone", The Antics Producer, Engineer[12][13][14]
  • 2014 "Send It Out", The Antics Producer, Engineer[15][16]
  • 2013 "The Skinhead Shake" Dysfunctional Youth Producer, Mastering Engineer[17]
  • 2011 "Insides" Pazz Kluger Producer, Mastering[18]
  • 2010 "Stopping Evolution Dead In It's Tracks" U.S. Chaos Producer Engineer Mastering Engineer[19][20]
  • 2010 "A Marty Munsch Production" 20 Years of Punk Rock Records[21]
  • 2008 "Way To Loud For Rock n Roll" The Flair Up's Producer, Mastering Engineer [22]
  • 2007 "The Girls Can't Get Enough" LP, The Stun Gunz Producer Mix Engineer[23]
  • 2006 "Busy Signal" Single, The Stun Gunz Producer Mix Engineer
  • 2006 "Live at CBGB's", TSOL: Producer, Engineer [24]
  • 2005 "Smashing Hippies" Broken Heroes Producer, Mastering (Cert. YouTube 100,000 digital release)[25]
  • 2005 "I Told You Once" Broken Heroes Producer, Mastering[26]
  • 2005 "Broken Bones And Power Chords" Vol.1: New York's Finest (CD, Comp) Various Crosscheck Records
  • 2004 "Unreachable" Single EP The Dead Heroes [27]
  • 2003 "Getting High in Glen Rock High School" Above All Hope Producer Mastering Engineer[28]
  • 2002 "She's Got a Gun/Paranoia" New York Rel-X Producer [29]
  • 2002 "She's Got a Gun" New York Rel-X Producer [30]
  • 2001 "DDSM's" Dean Dean and The Sex Machines 7", EP Producer, Mastering Engineer[31]
  • 1999 "Crawl Into Your Nightmare" Ritchie Murder And The Guilloteens Producer Mastering [32]
  • 1999 "Shaddow Traffic" When In Roam, Producer
  • 1999 "You Cant Hear A Picture" U.S. Chaos, Producer, Engineer, Mastering[33]
  • 1998 "East Coast Assholes" Violent Society Reissue Schuylkill Records Producer
  • 1998 "Down The Drain" "Parasite" L.E.S. Stitches[34][35] 3 Vers. Ea. Co-Producer
  • 1997 "Live at The Pipeline Club", "U.K. Subs" Newark, New Jersey, US [36]
  • 1997 "New Dawn in 21st Century" The Suspects Engineer
  • 1996 "Scene and Heard" The Mishaps Producer, Mastering Engineer[37]
  • 1996 "This City Sucks" Traumaschool Drop Out's Identity Crisis Producer Engineer
  • 1996 "The Rise of Punk" Violent Society Producer
  • 1996 "Live At CBGB" Peter and The Test Tube Babies Engineer, Producer, Mastering
  • 1996 "Punk Dwellings" Post Producer Advisory
  • 1996 "Yes, I Am Talking To you" Terabithia Producer[38]
  • 1996 "A !@#$ Scared Government" Basic Skills Producer Mastering Engineer
  • 1996 "For Being Young / Last call For Alcohol EP" U.S. Chaos Producer, Mastering, Engineer
  • 1995 "You're A Punk Slave" The Rash Producer, Engineer Mastering Engineer[39]
  • 1995 "Some More East Coast Assholes" Various[40]
  • 1995 "Bang Bang Lu-Lu / England Belongs To Me" Traumaschool Dropouts Producer
  • 1995 "Negative Attention" Violent Society Vinyl, 7", 33 ⅓ RPM originally released on "Not Enjoyin' It" Producer[41]
  • 1995 "Not Enjoyin' It" Violent Society Producer[42]
  • 1995 "Another Generation Lost" Bomb Squadron, Mastering
  • 1995 "East Coast Assholes" Violent Society Reissue Schuylkill Records Producer
  • 1994 "East Coast Assholes" Violent Society Release Punk Rock Records Producer
  • 1991 "A Better Tomorrow" Dysfunctional Youth Producer, Mastering Engineer[43]
  • 1988 "Revolution in the Classroom" Sex Pistols, Mastering
  • 1985 "Revolution Rock Edits and Dubs" The Clash Engineer Producer
  • 1983 "With Sympathy" Ministry QC Post Mastering

Film work

Munsch appears in the 2008 film All Grown Up: The Movie by Andrea Witting.[44]

Munsch produced and mastered the U.S. Chaos song "For Being Young" which appears on the soundtrack of film Pariah.[citation needed]

References

  1. ^ The Encyclopedia of Punk Cogan, Brian (2008). The Encyclopedia of Punk. Sterling. ISBN 1-4027-5960-6.
  2. ^ "US chaos". Sugarbuzzmagazine.com. Retrieved 26 January 2021.
  3. ^ SVT, AMPEG. "Super Valve Technology". ampeg.com.
  4. ^ "Dunnett Product - Classic Titanium". www.dunnett.com. Retrieved 2021-05-05.
  5. ^ "C414 XLII | Reference multipattern condenser microphone". www.akg.com. Retrieved 2021-05-16.
  6. ^ "SM58® - Dynamic Vocal Microphone". www.shure.com. Retrieved 2021-05-16.
  7. ^ "Music by Electro-Voice". products.electrovoice.com. Retrieved 2021-05-16.
  8. ^ "Music by Electro-Voice". products.electrovoice.com. Retrieved 2021-05-16.
  9. ^ "A History of the Fender Twin Amplifier | Fender Guitars". www.fender.com. Retrieved 2021-05-16.
  10. ^ Dysfunctional Youth – A Better Tomorrow (2018, CD), retrieved 2021-04-19
  11. ^ On the Beach - EP by The Accelerators, retrieved 2021-04-19
  12. ^ "NJ Post-Punkers The Antics Return With New Single "When I'm Alone"". Speakimge.com. Retrieved 26 January 2021.
  13. ^ "The Antics – "When I'm Alone"". Groundsounds.com. 16 January 2015. Retrieved 26 January 2021.
  14. ^ "Post-Punk Band, The Antics Celebrate With New Double-Sided Release "When I'm Alone/Transmission"". Top40-charts.com. Retrieved 26 January 2021.
  15. ^ [1] [dead link]
  16. ^ "Palace of Rock: I The Antics - Send it out". Rothnroll.blogspot.com. 29 August 2014. Retrieved 26 January 2021.
  17. ^ The Skinhead Shake - Single by Dysfunctional Youth, retrieved 2021-04-19
  18. ^ Kluger, Pazz (2011). "Pazz Kluger - Insides - A Marty Munsch Production". Pazz Kluger. Retrieved 20 April 2021.
  19. ^ Stopping Evolution Dead In It's Tracks - Single by U.S. Chaos, retrieved 2021-04-20
  20. ^ Stopping Evolution Dead In It's Tracks, retrieved 2021-04-20
  21. ^ 20 Years of Punk Rock Records, 20 Years of Punk Rock Records. "20 Years of Punk Rock Records". Spotify. Spotify. Retrieved 20 April 2021.{{cite web}}: CS1 maint: numeric names: authors list (link)
  22. ^ "The Flair Up's: The Flair Up's - Way To Loud For Rock n Roll". www.spotify.com. 2 July 2008. Retrieved 2 April 2021.
  23. ^ "Band Profile - Punk Rock n Roll, Psychobilly, Hardcore, Alternative Music Community - Band and Personal Profiles, Free Mohawk Internet Radio, Free Mp3s, Podcasts and Forums". www.mohawkradio.com. Retrieved 2021-04-18.
  24. ^ [2]
  25. ^ Broken heroes - Smashing Hippies, retrieved 2021-04-18
  26. ^ Heroes, Broken. "I Told You Once - LP, CD Release - Producer Marty Munsch". Almusic.com. Retrieved 20 April 2021.
  27. ^ "The Dead Heroes: The Dead Heroes - Unreachable". https://genius.com/artists/Marty-Munsch. 1 January 2003. Retrieved 26 March 2021. {{cite web}}: External link in |website= (help)
  28. ^ Above All Hope. "Above All Hope". Spotify. Eastern Pront Records. Retrieved 20 April 2021.
  29. ^ "NY Rel-X: NY Rel-X - She's Got a Gun/Paranoia". www.allmusic.com. 29 June 2002. Retrieved 24 March 2021.
  30. ^ "NY Rel-X: NY Rel-X - She's Got a Gun". www.allmusic.com. 29 June 2002. Retrieved 24 March 2021.
  31. ^ Dean Dean, ean Dean and the Sex Machines. "Dean Dean and the Sex Machines". Spotify. Punk Rock Records. Retrieved 20 April 2021.
  32. ^ "Ritchie Murder And The Guilloteens: Ritchie Murder And The Guilloteens". music.apple.com. 29 August 1999. Retrieved 5 August 2010.
  33. ^ "U.S. Chaos", Wikipedia, 2021-01-30, retrieved 2021-04-18
  34. ^ "L.E.S. Stitches - Down The Drain b/w Parasite". Discogs. Retrieved 2021-04-20.
  35. ^ "Various - Victory Singles Volume 3". Discogs. Retrieved 2021-04-20.
  36. ^ [3] [dead link]
  37. ^ The, Mishaps. "The Mishaps". Applemusic.com. Punk Rock Records BMI. Retrieved 20 April 2021.
  38. ^ Terabithia – Yes, I Am Talking To You (CD), retrieved 2021-04-19
  39. ^ The, Rash. "You're A Punk Slave". Spotify. Punk Rock Records. Retrieved 20 April 2021.
  40. ^ Some More East Coast Assholes (1996, CD), retrieved 2021-04-19
  41. ^ Violent Society – Negative Attention (1999, Vinyl), retrieved 2021-04-20
  42. ^ Violent, Society. "Violent Society - Not Enjoyin' It - A Marty Munsch Production". Discogs. Rot'en Roll Records. Retrieved 20 April 2021.
  43. ^ A Better Tomorrow by Dysfunctional Youth, retrieved 2021-04-19
  44. ^ All Grown Up The Movi, All Grown Up The Movie. "All Grown Up The Movie - Marty Munsch". YES. Best NJ Film in the 2007 NJ Film Festival). NJPUNKONLINE. Retrieved 20 April 2021.
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