Question: What are the names of the engineers who worked on the movie "Sound City"?
About the article "Sound City (film)", section "Technical".

Candidate passages:
Beau Borders was born and raised in New Jersey.
He became active in motorsport scene at early age.
Aged of fourteen Borders was the youngest Crew Chief in the history of IMSA.
He then worked in his fathers racing team.
Besides his passion for motorsport he also has a successful career as sound engineer.
He entered the movie industry in mid-1990s.
Borders worked at George Lucas’s Skywalker Ranch.
In the following years he collaborated on movies like "Titanic", "The Lord of the Rings" and "Transformers".
Borders and his fellow sound engineers Andy Koyama and David Brownlow are nominated for an Academy Award for Best Sound for the 2013 film "Lone Survivor".
Beau Borders resides in Venice Beach, California. 
Just prior to the announcement that Ladd was fired by KLOS, it was announced that he would be hosting a new television series, currently in development called "Masters of Sound".
On the series, Ladd will be bringing together recording engineers and producers, and the pop and rock artists they worked with to tell the first-hand stories about what really happened in the studio as they created their greatest hits.
In speaking about the show, Ladd said “Ask any of the great musicians out there and they’ll tell you that it never would have happened without the team of people who had the vision to help bring their gifts to the world and recording engineers and producers, they’re some of the most crucial…and oh, the stories they can tell.
One of the reasons why "Masters of Sound" is so appealing to me, is that it’s an untapped cultural goldmine and I’m excited to see what we’ll discover.”  
In 1919, De Forest filed the first patent on his sound-on-film process, which improved on the work of Finnish inventor Eric Tigerstedt and the German partnership Tri-Ergon, and called it the De Forest Phonofilm process.
Phonofilm recorded sound directly onto film as parallel lines of variable shades of gray, and later became known as a "variable density" system as opposed to "variable area" systems such as RCA Photophone.
These lines photographically recorded electrical waveforms from a microphone, which were translated back into sound waves when the movie was projected.
From October 1921 to September 1922, DeForest lived in Berlin, meeting with the Tri-Ergon developers and investigating other European sound film systems.
He announced to the press in April 1922 that he would soon have a workable sound-on-film system.
On 12 March 1923, DeForest presented a demonstration of Phonofilm to the press.
On 12 April 1923, DeForest gave a private demonstration of the process to electrical engineers at the Engineering Society Building's Auditorium at 33 West 39th Street in New York City.
This system, which synchronized sound directly onto film, was used to record stage performances (such as in vaudeville), speeches, and musical acts.
In November 1922, De Forest established his De Forest Phonofilm Company at 314 East 48th Street in New York City, but none of the Hollywood movie studios expressed any interest in his invention.
De Forest premiered 18 short films made in Phonofilm on 15 April 1923 at the Rivoli Theater in New York City.
He was forced to show his films in independent theaters such as the Rivoli, since Hollywood movie studios controlled all major theater chains.
De Forest chose to film primarily short vaudeville acts, not features, limiting the appeal of his process to Hollywood studios.
Max Fleischer and Dave Fleischer used the Phonofilm process for their Song Car-Tune series of cartoons—featuring the "Follow the Bouncing Ball" gimmick—starting in May 1924.
De Forest also worked with Freeman Harrison Owens and Theodore Case, using Owens's and Case's work to perfect the Phonofilm system.
However, DeForest had a falling out with both men.
Due to DeForest's continuing misuse of Theodore Case's inventions and failure to publicly acknowledge Case's contributions, the Case Research Lab proceeded to build its own camera.
That camera was used by Case and his colleague Earl Sponable to record President Coolidge on 11 August 1924, which was one of the films shown by DeForest and claimed by him to be the product of "his" inventions.
Seeing that DeForest was more concerned with his own fame and recognition than he was with actually creating a workable system of sound film, and because of DeForest's continuing attempts to downplay the contributions of the Case Research Lab in the creation of Phonofilm, Case severed his ties with DeForest in the fall of 1925.
Case then negotiated an agreement for his patents with studio head William Fox, owner of Fox Film Corporation, who marketed the system as the Fox Movietone process.
Shortly before the Phonofilm Company filed for bankruptcy in September 1926, Hollywood introduced a new method for sound film, the sound-on-disc process developed by Warner Brothers as Vitaphone, with the John Barrymore film "Don Juan", released 6 August 1926.
In 1927 and 1928, Hollywood began to use sound-on-film systems, including Fox Movietone and RCA Photophone.
Meanwhile, a theater chain owner, Isadore Schlesinger, acquired the UK rights to Phonofilm and released short films of British music hall performers from September 1926 to May 1929.
Almost 200 short films were made in the Phonofilm process, and many are preserved in the collections of the Library of Congress and the British Film Institute. 
By 1943, German engineers had developed a high-quality form of magnetic tape sound recording that was unknown elsewhere.
The Nazi radio networks used it to broadcast music and propaganda around the clock.
From their monitoring of Nazi radio broadcasts during World War II, the Allies knew that German radio studios had some new kind of recorder that could reproduce high-fidelity sound in segments of unheard-of length, up to 15 minutes duration.
But for several years, they didn't know what these machines were or how they worked, and it was not until Germany fell to the Allies during 1944-45 that the Americans discovered the new magnetic tape recorders.
Mullin saw the future potential of the new technology and who developed it immediately after the war.
Mullin served in the U.S. Army Signal Corps during World War II.
He was posted to Paris in the final months of the war, where his unit was assigned to find out everything they could about German radio and electronics.
They found and collected hundreds of low-quality field dictating machines but the major discovery came when Mullin visited Germany just before the end of the war.
He was sent to inspect a site near Frankfurt, where the Germans had reputedly been experimenting with using directed high-energy radio beams as means of disabling the ignition systems of flying aircraft.
On his way back home to San Francisco, Mullin made a chance stopover at a nearby German radio station at Bad Nauheim, which was already in American hands.
Here he was given two suitcase-sized AEG 'Magnetophon' high-fidelity recorders and 50 reels of Farben recording tape.
Mullin had them shipped home and over the next two years he worked on the machines constantly, modifying them and improving their performance.
His main hope was to interest the Hollywood movie studios in using magnetic tape for movie sound recording. 
Large-scale sound reinforcement systems are designed, installed, and operated by audio engineers and audio technicians.
During the design phase of a newly constructed venue, audio engineers work with architects and contractors, to ensure that the proposed design will accommodate the speakers and provide an appropriate space for sound technicians and the racks of audio equipment.
Sound engineers will also provide advice on which audio components would best suit the space and its intended use, and on the correct placement and installation of these components.
During the installation phase, sound engineers ensure that high-power electrical components are safely installed and connected and that ceiling or wall mounted speakers are properly mounted (or "flown") onto rigging.
When the sound reinforcement components are installed, the sound engineers test and calibrate the system so that its sound production will be even across the frequency spectrum.