Sound Story Network

Crafting Caught Stealing’s Hard-Hitting Sound – with Craig Henighan and Jill Purdy

Jennifer Walden — Wed, 01 Oct 2025 10:33:05 +0200

How the sound team created teeth-rattling hits, designed heart-pounding chase scenes, used wind recorded from a motorcycle helmet to add character to an ultra-punk-rock Toyota Celica, and tons more!

The post Crafting Caught Stealing’s Hard-Hitting Sound – with Craig Henighan and Jill Purdy appeared first on A Sound Effect.

5 Airwiggles Highlights: From towel thunder and homemade instruments, to dragster field recordings and space sounds:

Asbjoern Andersen — Wed, 01 Oct 2025 00:52:19 +0200

Check out these new stories and join the conversation with 7400+ other audio folks on Airwiggles:

The post 5 Airwiggles Highlights: From towel thunder and homemade instruments, to dragster field recordings and space sounds: appeared first on A Sound Effect.

21 great new sound libraries: Mountain wolves, hyper thunder, ultrasonic glass and animals, walla from Spain and England, and more

Adriane Kuzminski — Tue, 30 Sep 2025 16:08:32 +0200

Hear the very latest in independent sound effects with these 21 new sound libraries

The post 21 great new sound libraries: Mountain wolves, hyper thunder, ultrasonic glass and animals, walla from Spain and England, and more appeared first on A Sound Effect.

When More is More in Sound Design

Asbjoern Andersen — Mon, 29 Sep 2025 16:55:47 +0200

“Less is more” has become a mantra in sound design — but in this story, Dr Iain McGregor shows why, sometimes, more really is more:

The post When More is More in Sound Design appeared first on A Sound Effect.

328 – Sesame Street

Timothy Muirhead — Mon, 29 Sep 2025 05:40:24 +0200

Dick Maitland has worked on the sound for over 4,700 episodes of Sesame Street, starting with the show back in 1969. 50 years into the show’s run, Steve “Major” Giammaria joined the show as re-recording mixer, and had to quickly get up to speed on all the iconic sounds found…

Jungle Run Sequence Mix Breakdown for Black Mirror Season 7

A Sound Effect — Fri, 26 Sep 2025 09:33:36 +0200

Black Mirror Sound Design Breakdown: 'USS Callister: Into Infinity' Transporter

A Sound Effect — Fri, 26 Sep 2025 09:33:33 +0200

Recreating 1940s Film Audio for Black Mirror’s Hotel Reverie

A Sound Effect — Fri, 26 Sep 2025 09:33:24 +0200

How KPop Demon Hunters’ Thrilling Sound Balances Demonic Darkness, Epic Battles & Catchy K-Pop:

Jennifer Walden — Wed, 24 Sep 2025 13:55:55 +0200

Award-winning sound supervisor/re-recording mixer Michael Babcock dives into details of his work 'KPop Demon Hunters' — from creating demon vocals that work with the K-pop tunes, epic battles, to building huge crowds of chanting fans and much, much, more!

The post How KPop Demon Hunters’ Thrilling Sound Balances Demonic Darkness, Epic Battles & Catchy K-Pop: appeared first on A Sound Effect.

Video: Recording authentic game audio for World of Tanks:

Asbjoern Andersen — Wed, 24 Sep 2025 11:31:34 +0200

How the World of Tanks audio team captured authentic recordings at The Tank Museum:

The post Video: Recording authentic game audio for World of Tanks: appeared first on A Sound Effect.

23 great new sound libraries: Sub-Antarctic winds, spine-chilling horror, underwater ambiences, high-impact explosions, metallic textures, stretch limos, and much more

Adriane Kuzminski — Wed, 24 Sep 2025 10:32:32 +0200

Hear the very latest in sound effects libraries with these 23 new releases from the independent sound community:

The post 23 great new sound libraries: Sub-Antarctic winds, spine-chilling horror, underwater ambiences, high-impact explosions, metallic textures, stretch limos, and much more appeared first on A Sound Effect.

11 great new podcasts: hear about the sound of ‘The Last of Us Season 2’, ‘Adolescence’, ‘Last Breath’, and ‘Black Mirror: USS Callister’ + indie games, 50-year audio careers & much more

Adriane Kuzminski — Wed, 24 Sep 2025 10:14:06 +0200

Hear excellent sound stories in these new podcast episodes from Audio Podcast Alliance members:

The post 11 great new podcasts: hear about the sound of ‘The Last of Us Season 2’, ‘Adolescence’, ‘Last Breath’, and ‘Black Mirror: USS Callister’ + indie games, 50-year audio careers & much more appeared first on A Sound Effect.

What’s New in REAPER v7.46 update – Pin tracks, Solo Bus, tempo envelope curves and more!

Admin — Tue, 23 Sep 2025 03:12:14 +0200

learn the latest features and changes in REAPER 7.46

The post What’s New in REAPER v7.46 update – Pin tracks, Solo Bus, tempo envelope curves and more! first appeared on The REAPER BLOG.

327 – KPop Demon Hunters

Timothy Muirhead — Fri, 19 Sep 2025 20:09:41 +0200

Michael Babcock (re-recording mixer/sound designer/supervising sound editor) talks about the challenges of the sound work for KPop Demon Hunters. The animated film has quickly become a world wide sensation and Netflix’s most watched title ever (523.6 million viewer hours)! Michael calls the project the most challenging film he has ever…

Hear the ANIMAL HYPERREALISM IV sound library teaser here!

A Sound Effect — Fri, 19 Sep 2025 15:18:45 +0200

Behind the Striking Sound of ‘Thunderbolts*’ – with Onnalee Blank and Samson Neslund

Jennifer Walden — Thu, 18 Sep 2025 13:59:29 +0200

Skywalker Sound's supervising sound editor/sound designer Samson Neslund and re-recording mixer Onnalee Blank dive into the details of crafting 'Thunderbolts*' — now available on Disney+. They talk about using realistic sounds to create a grounded vibe for the superheroes, using dissonant drones and abstract textures for Sentry's dark mindspace called 'the Void,' creating fun and chaotic fight scenes, and more!

The post Behind the Striking Sound of ‘Thunderbolts*’ – with Onnalee Blank and Samson Neslund appeared first on A Sound Effect.

The LOADER is here – giving you the world’s easiest way to get independent sound effects!

Asbjoern Andersen — Wed, 17 Sep 2025 11:03:50 +0200

The Loader makes it easier than ever to get independent sound effects - try it here:

The post The LOADER is here – giving you the world’s easiest way to get independent sound effects! appeared first on A Sound Effect.

326 – Weapons

Timothy Muirhead — Mon, 15 Sep 2025 15:17:59 +0200

Director Zach Cregger’s latest film, Weapons, has been both a critical and a box office success. One of the film’s biggest strengths is it’s distinctive work design created by Luciano Vignola (Supervising Sound Editor & Re-Recording MIxer), Filipe Messeder (Sound Designer & Re-Recording Mixer) and Jake O’Brien (Dialogue Editor). They…

The sound of 'WEAPONS': Using the Rumbler to create picture frame rattles for the end chase scene

A Sound Effect — Wed, 10 Sep 2025 14:35:42 +0200

The sound of 'WEAPONS': Using the Rumbler to create plate rattles for that end chase scene

A Sound Effect — Wed, 10 Sep 2025 14:34:48 +0200

GV soundscape on Aeon essays

George Vlad — Tue, 09 Sep 2025 12:50:30 +0200

I’ve recently started to see a bit of a traffic spike to one of my Youtube videos. This happens every now and then so it wasn’t completely unexpected, but there usually isn’t much information related to the source of the traffic so I don’t pay much attention to it. This time however I got a comment from someone who mentioned finding the video through Aeon essays, and then looking up the external traffic sources I could see this beautifully written article that embedded my video. Enjoy the long read!

Avid Support – More New Restrictions

info@resurface.audio — Fri, 05 Sep 2025 09:43:48 +0200

News reaches us via the Resurface community of further changes to the Avid support policy for hardware, and control surfaces in particular.

These changes are incremental to those which came into effect in 2024, which we outlined in detail in this article: https://resurface.audio/support-for-avid-s6-is-changing/

The new policy will be in effect from 12th September 2025. Here are the changes:

Change 1 – No More Grace Period

Up until now, there has been a 60 day grace period – where a support contract could be renewed without a reinstatement charge if less than 60 days had passed since the end date of the previous contract.

From September 12th, rather than offer a 60 day window with no penalty, Avid will now ratchet the charge for lapsed contracts, starting from day 1. Whereas before there was no reinstatement fee for 60 days, now there will be, and it’s:

1–30 days lapsed = 15% fee
31–60 days lapsed = 25% fee
More than 60 days lapsed = 35% fee (i.e. the standard reinstatement fee)

Change 2 – No Hardware Support Contracts for Used Consoles

Perhaps the most significant change is related to hardware support for used consoles. Importantly, the changes do not apply to dealer-demo consoles (demo consoles which have never been sold to an end user, and which are less than 6 years old).

Previously, the new owner of a used Avid console could (once they had completed the $19 Transfer of Ownership process) inherit and benefit from any remaining support contract period, or reinstate any lapsed support contracts in accordance with the rules (any that had expired more recently than two years ago), on the console they had bought.

Not any more. This is the big change.

From 12th September 2025, hardware support contracts will be non-transferable, and can not be reinstated.

Ownership in the kit itself (the system ID) can still be transferred from one Avid account to another just as before, and software can be kept up to date, but Avid will no longer allow the new owner to inherit, reinstate or renew any support contracts attached to the hardware they have bought.

This does not apply retrospectively – For past used purchases: If the console was purchased used, and ownership was transferred, and support was renewed, before 12th September 2025 – that support can continue to be renewed going forward. However, if that contract subsequently lapses at some future point, it will then not be reinstate-able.

Hardware v Software Support

In the context of Avid control surfaces such as S6 and S4, it’s vital to make the distinction between Hardware and Software support plans.

Hardware support plans relate to warranty repair and/or advance replacement of faulty modules which are under their cover. Conversely, any hardware faults outside of a Hardware plan would need to be fixed via non-warranty, chargeable repairs.

A console which is not under hardware support can still be covered with a software update plan.

Meaning that the lack of a hardware support plan does not prevent a console MTM from being kept up-to-date with the latest software versions.

The policy changes outlined above apply to Hardware Support. Avid’s software-only plan for control surface MTM’s are unaffected by these changes. All S6 and S4 owners are still able to buy the following plans:

0541-60109-08	Avid Advantage, S6 M40 Master Module, ExpertPlus Renewal
0541-60275-08	S4 ExpertPlus only Renewal
0541-60108-08	Avid Advantage, S6 M10 Master Module, ExpertPlus Renewal

Who do the Avid Support changes affect, and how?

This is the complicated part. For many S6 owners, whether they bought new or used, this will have little or no impact, for others it will be significant.

For the gold-standard S6 owner, those who always kept every single module under support (and these are some of Avid’s biggest clients) this will devalue their kit investment.

These fully-covered consoles, when sold used, cannot now be sold with their full support contract attached. These risk-free used consoles would historically have achieved the highest prices for their owners, but now they will no longer attract that premium. The asset is worth less than it was. Good news for buyers of used consoles, bad news for owners.

On the other hand, that console can be sold in 100% fully working condition if the owner exercises their right to have any faults fixed under the cover of the support contract prior to selling, and extract the full value of their contract spend with Avid. A console with recently replaced/repaired modules will naturally be worth more than one with faults.

The reality is that most S6 owners haven’t taken this ‘full cover’ approach to support. At over $4k per year for a 24 Fader, 5 knob S6 M40 with displays, the economics often didn’t stack up.

By far the most common behaviour is to spend around $1,200 per year to keep the console’s CPU – the MTM – under support, but not all of the faders, knobs or other modules.

For these S6 users, if it’s been more than two years since the last time the other modules were covered, then this policy change makes a much smaller difference. Since the changes from 2024 came into effect, support on those modules could not have been reinstated by a new owner anyway. It’s only the cover on the MTM that is affected.

Advice for Buyers and Sellers

For both buyers and sellers, it has now become more important than ever to have an honest, detailed and open dialogue about the condition of every single knob, fader and button on an S4 or S6 console offered for sale. Resurface can enable that.

For our part, we at Resurface will be more stringent than ever on the description of used listings from sellers, with any and all known faults now being a key part of each listing.

When buying a used console with a support contract attached, it will be critical for sellers to address any faults, get them rectified by Avid under the contract, before ownership transfers to the buyer.

Can used consoles and modules still be repaired, and what is the cost?

Yes. All current hardware can be fixed as non-warranty “a-la-carte” repairs via your reseller of choice.

Repair costs vary, depending on the module type. At the time of writing, no standard Price List exists from Avid, however we’re told that this is in-the-works. Lack of published pricing makes it difficult for buyers to factor in the cost of occasional repairs, and thereby understand the total cost of ownership for an Avid console.

Anecdotally, we recently had an S6 fader module needing to be repaired out-of-warranty. The symptom was a solo button which no longer worked, the diagnosis was a broken button tree. The repair cost was GBP 879 + VAT. The process was far from slick, however. Between opening a ticket with Avid customer care and receiving the repaired module back via our (very helpful) local reseller, several weeks had passed.

One positive aspect to the new policy is that Advance Replacement will now be offered (as an extra cost option) to non-warranty repairs. Previously this was only possible under very specific circumstances.

In Conclusion

Now that S6 is 12 years old, time has taken its toll in two ways:

1) The existing console population out in the market is older

2) Avid’s new console sales revenue has naturally declined over time

So is this policy change a ploy to suppress the used market and sell more new consoles? The answer is probably no, simply because that’s not what will happen.

Used console buyers won’t become new console buyers on the strength of this fine-print policy change, the cost differential is far too great, and those wanting an S6 M10 don’t even have the new option.

It seems more about the first point – S6s are getting older and the cost of fulfilling their side of the Support Contract is becoming intolerably high for Avid. Wear and tear hours are increasing, so customers who have paid for hardware support contracts are making greater use of them.

The post Avid Support – More New Restrictions appeared first on Resurface.

325 – Cultivating Creative Flow in Game Audio Development (Sonic Days Conference)

Timothy Muirhead — Thu, 04 Sep 2025 06:44:00 +0200

This episode is a re-podcast of a live panel from last year’s Sonic Days Conference, in Denmark. The panelists explore the creative process behind game audio development, diving into strategies for fostering innovation, overcoming creative blocks, and enhancing collaboration in the industry.The panel is made up of:Richard Lapington, Audio Director,…

In Conversation With: Greg Stone

info@resurface.audio — Wed, 27 Aug 2025 11:47:22 +0200

Building Audio Futures: Greg’s Journey from Dubbing to Remote Innovation

When Greg first entered the world of post-production, he didn’t come from the traditional path of sound engineers or mixers. Instead, he arrived from the world of investment and finance, acquiring SPG Studios, a Los Angeles–based foreign-language dubbing company. What began as a business challenge soon became a passion project also. Over time, Greg expanded into new ventures, eventually founding Signature Post, a boutique audio post-production facility with studios in Santa Monica and Burbank.To the naked eye, SPG and Signature appear similar—both provide high-end audio services. Yet their work is distinct. SPG operates largely “Post-post” handling dubbing and localisation once a project is already locked. By contrast, Signature Post is deeply collaborative, with clients and creative teams often sitting in on mixes and ADR sessions. One company thrives on structured, predictable throughput; the other works in the volatile, deadline-driven world of finishing. Together, they gave Greg a panoramic view of how the industry functions—and where its bottlenecks lie.

The Origin of Remoto

That vantage point proved invaluable in 2020, when the pandemic suddenly disrupted workflows worldwide. Greg recalls dubbing Game of Thrones at the time, facing pressure from studios to keep recording while lockdowns made traditional sessions impossible. Remote tools existed, but most were “kluged”—cobbled together hybrids of dedicated audio tools and conferencing platforms like Zoom or WebEx, which were never designed for frame-accurate, secure audio collaboration. For high-stakes clients such as HBO, that simply wasn’t good enough.The limitations were clear. Traditional studios could patch into each other using professional gear, but the moment a director, HoD or producer joined from home, quality and sync broke down. Sessions that should have been about creative feedback became mired in technical troubleshooting. “The expectation now,” Greg explains, “is that work can meet you wherever you are. But the tools hadn’t caught up.”So, rather than waiting for an outsider solution, Greg and his colleagues decided to build one themselves. Out of this need, Remoto Playback was born: a collaboration platform created by audio people, for audio people.

Designed with Practitioners in Mind

What sets Remoto apart is not simply that it enables remote participation—that was already possible. It’s that it mirrors the way audio professionals actually work. Remoto’s host controls allow mixers to route sources with ultimate flexibility and precision, while its participant interface remains as simple as Zoom. That balance of sophistication and accessibility was intentional: clients shouldn’t have a technical barrier to their creative feedback.One standout feature is timecoded markers. Instead of scribbling notes or recording sessions to review later, observers can drop comments directly into the timeline. Those notes then export straight into Pro Tools, cutting down on wasted hours. Another innovation is per-participant sync control. Anyone who has run a remote spotting session knows the pain of someone being out of sync due to headphones or device delay. With Remoto, each viewer can adjust sync locally, eliminating one of the most common headaches.Other tools—like push-to-talk and session presets—further streamline collaboration. In Greg’s words, “We wanted to make the remote workflow familiar, almost like an appliance”. Something built for the job, not a Frankenstein’s monster of tools never designed to work together.

Democratising Access

Beyond features, Remoto’s business model reflects the realities of post-production. Instead of always locking users into subscriptions, the platform can run on a flexible, pay-as-you-go basis. A small team can purchase just a half-hour session for a few participants, while larger companies can opt for subscriptions if they need heavier usage and predictable costs.That flexibility matters not only for cost control but also for inclusivity. Independent supervisors, small studios, or even students can access the same professional-grade tool without prohibitive overhead. A welcome approach in an industry where opportunity is often gated by resources.

Looking Ahead: ADR and Beyond

Playback is the first manifestation of the Remoto platform, which was designed as an infrastructure to support multiple products. The next, currently in beta, is focused on ADR sessions – run remotely to picture. The goal is to recreate the dynamics of a live ADR session, with director, engineer, and talent in different locations but working together seamlessly. Whether for TV commercials, dubbing, or feature films, the ability to record securely from anywhere could dramatically expand creative possibilities.

Reflections on a Changing Industry

While Greg is optimistic about technology’s role, he acknowledges the broader challenges facing post-production. The past few years have brought disruption; from COVID to strikes to a glut of capacity in both facilities and personnel. Many professionals who once worked steadily year-round now struggle for consistency. “Some of the worst is behind us,” he says, “but I don’t think we’ll return to the heady days pre-COVID. The industry is right-sizing.”Part of that adjustment is generational. Today’s audiences – his own teenagers included – consume content in ever-fragmented ways, from streaming to podcasts to social platforms. Legacy television and film will remain dominant for some time, but their share of attention is slowly eroding. As Greg puts it, “We’re yelling in a more crowded marketplace. Breakout hits still happen, but they compete with more distractions than ever before.”His investor’s perspective shapes his outlook. Industries rise, plateau, and recalibrate. Entertainment is unique in its cultural impact, but it too must adapt to shifting economics and consumer behavior. For Greg, the lesson is not despair but pragmatism: focus on efficiency, embrace new tools, and meet creators where they are.

Conclusion

Greg’s journey from financier to dubbing entrepreneur to technology innovator illustrates how fresh perspectives can spark change. SPG Studios taught him the global complexities of localisation; Signature Post grounded him in the immediacy of creative collaboration. Together, they exposed the pain points that led to Remoto.More than just another remote-work tool, Remoto embodies an ethos: purpose-built solutions, designed by practitioners, that make workflows more efficient and inclusive. As the entertainment industry continues to evolve, Greg’s story is a reminder that innovation often comes not from tradition, but from those willing to reimagine it.

Remoto Playback – Get A Free Test Drive

The post In Conversation With: Greg Stone appeared first on Resurface.

324 – Black Mirror

Timothy Muirhead — Thu, 21 Aug 2025 23:47:57 +0200

Black Mirror has consistently been a ground breaking series over the show’s decade plus run. It has set a high standard within the sound community as well. The recent release of Season 7, keeps that sonic bar extremely high, especially on the Emmy nominated episode “USS Callister: Into Infinity”. Supervising…

323 – The Righteous Gemstones & Pee-wee as Himself

Timothy Muirhead — Mon, 18 Aug 2025 15:57:38 +0200

The Righteous Gemstones is a big broad comedy about excess, except for the first episode of season 4, which takes place nearly 200 years before the main series. With the American Civil as the backdrop, this story is gritty and dirty, a complete departure from the bulk of the series.…

What’s New in REAPER v7.43 update – one-shot scrub, mono fx and more

Admin — Sat, 16 Aug 2025 19:48:14 +0200

Learn about the latest features and changes in REAPER

The post What’s New in REAPER v7.43 update – one-shot scrub, mono fx and more first appeared on The REAPER BLOG.

322 – The Sound Of Star Trek Roundtable

Timothy Muirhead — Thu, 14 Aug 2025 20:08:07 +0200

How is it possible that it took until the 322nd episode of Tonebenders for a discussion about the sound design of the Star Trek franchise?! This episode, featuring two guests that have collectively worked on over a 150 episodes within the Star Trek universe, will finally give us a chance…

321 – The Sound of The Last Of Us & The Penguin

Timothy Muirhead — Tue, 12 Aug 2025 20:31:55 +0200

The audio post teams from both The Penguin and Season 2 of The Last Of Us, sit down together to hash out the work they did on their respective series. Workflows are discussed and compared, favourite sound moments are shared and many other challenges, that must be overcome in these…

320 – Adolescence

Timothy Muirhead — Thu, 07 Aug 2025 06:38:55 +0200

Adolescence is a limited series on Netflix consisting of 4 episodes, each made up of a single continuous hour long take. This “one-er” format presented tremendous challenges to the sound team, both on set and in post production. Intense planning was needed in order to capture everything in production, and…

319 – How Will A.I. Affect Sound Designers?

Timothy Muirhead — Mon, 04 Aug 2025 17:53:32 +0200

This episode has been a long time coming. I have been trying to figure out how to tackle a discussion about A.I. and it’s influence on how sound editors will all be able to do our work in the future. So when the MPSE put out a press release about…

20 great new audio jobs at Hexany Audio, Universal Studios, Nintendo, Fun Waffle, FuturLab, Sledgehammer, Berklee, GoReel, KWS Taiwan, Sonologic Design, Sound Particles, The Audio Programmer, Carnegie Mellon, Cundall, Epidemic Sound, Native Instruments, P

Adriane Kuzminski — Fri, 01 Aug 2025 09:49:17 +0200

We came across interesting new jobs at Fun Waffle, FuturLab, and Sledgehammer Games:

Fun Waffle is looking for an Audio Composer to design and implement a rich and immersive soundscape that includes original music, sound effects, and ambient audio (Remote)
FuturLab is seeking a Technical Audio Designer to create and implement of all the audio in an exciting new project – driving the audio identity of their new ‘ultra satisfying’ IP (England)
Sledgehammer Games is recruiting a Sound Designer to be involved in virtually every aspect of AAA game audio content development alongside one of the most passionate and experienced audio teams in the industry (England)

To learn more about these featured jobs, scroll down to see their full descriptions

19 great new audio jobs at Nintendo, NBCUniversal, Sound Particles, Apple, One More Level, BUTTER Music and Sound, Mirelo AI, Narratix, QLAB Digital Post, Riot Games LA, Riot Games Music, RUN Studios, Aristocrat, Avid, EA SPORTS, Frogwares, Google, Kassne

Adriane Kuzminski — Tue, 29 Jul 2025 20:39:08 +0200

We came across interesting new jobs at Sound Particles, Nintendo, One More Level, and BUTTER Music and Sound:

Sound Particles is hiring a Researcher with a strong theoretical background combined with curiosity, creativity, and a desire to solve complex problems (Portugal)
Nintendo is looking for an Audio Director (NST) to manage the audio team directing the design, development, and implementation of all sound and music for Nintendo Software Technology (WA, US)
One More Level is seeking a Sound Designer to record and design sound assets and implement them using Wwise and Unreal Engine (Poland)
BUTTER Music and Sound is recruiting an Associate Music Editor to handle everything from downloading fresh composer tracks, laying them back to picture, sweetening the final mix, and packaging it all up with love (NY, US / Remote / Hybrid)

To learn more about these featured jobs, scroll down to see their full descriptions

19 great new audio jobs at Dolby, Ka-boom, Gameloft Brisbane, 344 Audio, Meta, Spotify, PikPok, Studio Drydock, Nordlings, One Line, Shiva Bayat, Skillsearch, Sonatune, Studio 52, Universal Music, Aalborg University, Erick Cifuentes, HeartLoop, and KWS B

Adriane Kuzminski — Fri, 18 Jul 2025 08:59:26 +0200

We came across interesting new jobs at 344 Audio, Ka-boom, PikPok, and Studio Drydock:

344 Audio is looking for a Sound Designer who lives and breathes soundwaves, knows their way around Pro Tools blindfolded, and isn’t afraid to get their hands dirty in foley, dialogue, or field recording (England)
Ka-boom is hiring a Sound Designer / Re-Recording Mixer to join them in delivering high-quality sound for a wide range of TV and film projects (Ireland)
PikPok is seeking a Junior Audio Designer to help create amazing games that engage and entertain (New Zealand)
Studio Drydock is recruiting a Senior Audio Designer with a proven track record in creating thrilling, soothing and immersive game audio experiences (Remote)

To learn more about these featured jobs, scroll down to see their full descriptions

Fireworks with a Gorgeous View

Richard — Sat, 12 Jul 2025 01:36:43 +0200

I had high hopes for the soundscape you’re about to hear in the YouTube video below. Off and on for several years, I have been recording the sound of exploding fireworks, both up close and distant. Examples of my up-close work can be heard and purchased via my blog post entitled Commercial Fireworks: Up Close and Loud. As you’ll hear, I’m still working on the distant fireworks library. On Independence Day, or rather, that night, I convinced my wife to drive with me down poorly-lit gravel roads to listen to fireworks with a gorgeous view. The view in this case is from the gorge overlook at Mohican State Park.… Read More

The post Fireworks with a Gorgeous View appeared first on Evocative Sound and Visuals.

20 great new audio jobs at Disneyland Paris, HeartLoop Games, Clear Music, Qualcomm, Rovio, Apple, Bluecadet, Bose, Gameloft Brisbane, Mysteria Studio, Side, Sporty Group, Dolby, EA Create, EA SPORTS, Gameloft Montreal, PlayStation, All Ages of Geek, and

Adriane Kuzminski — Fri, 11 Jul 2025 10:58:48 +0200

We came across interesting new jobs at HeartLoop Games, Clear Music, All Ages of Geek, and Qualcomm:

HeartLoop Games is hiring a Musician / Audio Designer for contract work on their combat-focused game (Remote)
Clear Music is looking for a Freelance Audio Post to collaborate on music briefs, custom SFX requests, and freelance sound supervision projects (Netherlands)
All Ages of Geek is seeking a Deaf / HoH Voice Actor to voice a small role with the opportunity to appear in many future episodes (Remote)
Qualcomm is recruiting a Acoustics Engineer who has a passion for audio/acoustics, is self-motivated, and comfortable working within an acoustics R&D lab environment (CA, US)

To learn more about these featured jobs, scroll down to see their full descriptions

Recording the Gorge Dam

Richard — Thu, 10 Jul 2025 23:36:22 +0200

Yesterday, I drove down to Cuyahoga Falls, Ohio, to record the sound of water pouring over the Gorge Dam. This massive 70-foot-high concrete dam, constructed in 1913 by Northern Ohio Traction & Light Co. to generate hydroelectric power, was decommissioned … Read More

The post Recording the Gorge Dam appeared first on Evocative Sound and Visuals.

20 great new audio jobs at Netflix, Cloud Imperium, Huawei, Audiotonix, BandLab, ArenaNet, Forever Audio, HoYoverse, Impulse Audio Lab, inMusic, Native Instruments, nDreams, ROOST, The Audio Programmer, Creative Recruitment, Deluxe, Global Media Operation

Adriane Kuzminski — Fri, 04 Jul 2025 00:24:53 +0200

We came across interesting new jobs at ArenaNet, Cloud Imperium Games, Huawei, and Forever Audio:

ArenaNet is hiring a Music Lead who is talented and collaborative and can drive all music efforts for an unannounced title (WA, US)
Cloud Imperium Games is looking for a Junior Sound Designer to record, design and implement audio for our Star Citizen and Squadron 42 projects (England)
Huawei is seeking a Senior Research Engineer – Spatial Audio to conduct applied research in spatial audio technologies (Germany)
Forever Audio is recruiting a US Team Assistant to provide support for our US audio teams in every element of production (Remote / US)

To learn more about these featured jobs, scroll down to see their full descriptions

One Year Alone in the Forest: Day 1

Jared Blake — Tue, 01 Jul 2025 06:44:18 +0200

What I’m Doing

For the next year, I’m leaving a sound recorder alone, untouched, and always listening in the heart of a remote wilderness.

This project is a departure from my intentional series, where I’m on-site, ears open, immersed in the environment as I carefully choose every moment to capture.

Recently, I’ve been craving something different. A different relationship with time, with listening, and with the soundscape itself.

I was deeply inspired by Joshua Bonnetta’s The Pines, a meditative exploration of place, sound, and change that evokes stillness and invites patience. His work reminded me that the most profound shifts in a landscape often happen slowly—too slowly for a single visit, or even a single season to reveal.

At the same time, I’ve been reckoning with the growing difficulty of finding pure, uninterrupted nature sounds.

My current field trips are short and not always remote enough to escape the hum of distant highways, overhead planes, or human activity.

So, this long-term project is my way of adapting. By setting up a Wildlife Acoustics SM4 recorder and returning at least once a month to retrieve the SD cards and replace the 10Ah batteries, I can listen without interruption to the rise and fall of seasons, the shift in bird calls, the hush of snowfall, and the sudden bloom of spring insects.

It’s a commitment to deep listening, to staying with one place for a full year. And while I won’t be there physically for every sound that gets recorded, I’m still choosing to be in a relationship with this soundscape—listening to it unfold, one month at a time.

This is still an intentional recording. Just slower, quieter, and different.

The Gear Setup

For this project to work, the gear needs to be rugged, reliable, and capable of running unattended for weeks at a time in harsh conditions.

The centerpiece of my setup is the Wildlife Acoustics SM4, a professional-grade field recorder built specifically for long-term deployments in the wild.

It records low-noise 16-bit WAV files and is designed to sip power over long stretches of time, making it the ideal choice for year-round passive recording.

Wind Protection

Even the best mics are useless without proper wind protection, especially in exposed wilderness.

For this build, I hand-sewed custom furry wind covers using material salvaged from a broken Rycote WS AE blimp windjammer.

Rycote generously replaced the original when it failed, so the old one was just sitting in a drawer collecting dust.

I repurposed the fur, stitching together snug-fitting wind protection tailored to the generous curves of foam around the SM4 mics.

Power

To keep the SM4 running continuously between monthly check-ins, I’m using two 10Ah IP67-rated waterproof batteries linked here.

I have a total of four in rotation—two out in the field powering the unit, and two charging at home, ready for the next swap.

These batteries are built tough and rated for water submersion, but I didn’t want to take any chances, so I went a step further.

Custom Battery Enclosure

Using my 3D printer, I designed and built a custom enclosure that houses both batteries.

It’s probably overkill, but the peace of mind is worth it.

The case ensures protection from heavy rains, snow, mud, and the occasional curious animal.

Monthly Returns: A Ritual of Listening

As I walked away from the recorder for the first time, I felt a strange mix of relief, excitement, and vulnerability.

The SM4 is now out there, recording nonstop—alone in the forest, exposed to weather, wildlife, and time.

Starting next month, I’ll begin a new routine: hiking back to the site to retrieve the SD cards and replace the batteries.

These monthly visits will be the only human presence the recorder experiences, but I’m not just planning to hike in, swap gear, and leave.

Whenever possible, I’ll camp near the SM4, setting up quietly at a respectful distance.

I want to spend time with this land—not just through recordings, but through my own direct senses.

I want to fall asleep to the same night sounds the recorder is capturing, wake with the same birdsong, and feel the temperature, texture, and rhythm of the environment firsthand.

This is part of how I learn a place—by simply being in it, with no agenda beyond observation.

These overnight stays won’t be about making new recordings. They’ll be about building familiarity—about grounding the digital data in lived experience.

I want to know this place, not just through the lens of the recorder, but through direct encounter. To hear what the SM4 hears while lying under the stars. To feel the breeze the mics are catching. To watch the light shift across the forest floor and smell the damp earth after rain.

By camping near the recorder each month, I’m hoping to form a sensory connection to the land, so that when I later sit down to listen, weeks or months removed from the moment, I’m not just hearing anonymous nature sounds; I’m experiencing memories.

This monthly return will become a ritual of listening and witnessing. One location. Twelve visits. A year-long dialogue between the recorder, the landscape, and me.

What’s Next

With the recorder now set and the first SD cards quietly filling up, all that’s left to do, for now, is wait.

In about a month, I’ll hike back to the site for the first return visit.

I’ll bring fresh batteries and empty cards, but more importantly, I’ll bring a sense of curiosity.

What has the recorder heard in my absence? Has it survived the elements? Did it capture the first insects of spring? A migrating flock overhead? A passing storm? Do I need to adjust the gain? I won’t know until I sit down, load the files, and begin to listen.

As the year unfolds, I’ll be sharing updates here and on YouTube—reflections from each trip, highlights from the recordings, and insights into how the soundscape is changing month by month.

My goal is to create more than just a library of audio. I want to tell the story of a place through sound: its rhythms, its silences, its wild, unpredictable voice.

This is just the beginning.

If you’re interested in following this project, I’d love for you to subscribe to my YouTube channel or bookmark this blog. You’ll hear everything I hear, one month at a time.

And as the seasons change, we’ll discover together what it means to truly listen to a single place with patience, attention, and care.

Let the year of stillness begin.

Disclaimer: This blog post contains affiliate links. If you make a purchase through one of these links, I may receive a small commission at no additional cost to you. This helps support my work and allows me to continue providing valuable content. Thank you for your support!

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Thanks for reading,
-Jared

20 great new audio jobs at Criterion, BBC Studios, Google, HANCE, Zynga, The Washington Post, Jabsz Studios, Mob Entertainment, Skoove, Sonologic Design, University of Reading, Venchr, Vox, Inc., Yoto, Black Shamrock, Evolution, Instinct, Nowon, and Riot

Adriane Kuzminski — Thu, 26 Jun 2025 16:10:29 +0200

We came across interesting new jobs at Criterion Games, Jabsz Studios, and Mob Entertainment:

Criterion Games is hiring a Technical Audio Designer to work closely with the audio design and programming teams to create, implement, maintain and debug complex audio playback systems (England)
Jabsz Studios is seeking a Sound Effects Designer Intern to craft immersive audio experiences that enrich the gameplay (Remote)
Mob Entertainment is recruiting a Composer to be the architect of their game’s sonic unease – blending ambient dread, tense build-ups, and haunting melodies (Remote / US)

To learn more about these featured jobs, scroll down to see their full descriptions

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Dawn Chorus in Southwest Ohio

Richard — Tue, 10 Jun 2025 00:16:33 +0200

Over Memorial Day weekend 2025, my wife and I stayed in the guest house at the Murphin Ridge Inn, a bed and breakfast 13 miles due north of the Ohio River as the crow flies. Below, hear the dawn chorus … Read More

The post Dawn Chorus in Southwest Ohio appeared first on Evocative Sound and Visuals.

Earth FM interview with George Vlad

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The Sound of Black Mirror Season 7: From Script to Screen

info@resurface.audio — Thu, 29 May 2025 09:12:43 +0200

The audio theatre at MPTS 2025 in London played host to an intimate and technically rich dive into one of television’s most sonically ambitious projects— Netflix’s Black Mirror Season 7. In a panel titled From Script to Screen: The Sound of Black Mirror, attendees got a rare behind-the-scenes look into how this anthology series crafts its immersive soundscapes.

Moderated by Resurface co-founder Ben Nemes, the session featured supervising sound editor Tom Jenkins, re-recording mixer James Ridgeway, and production sound mixer Jen Annor, each of whom helped bring the distinctive episodes of the latest season to life. With episodes as varied as a retro sci-fi homage (USS Callister) and the Casablanca-tinged Hotel Reverie, the trio unpacked the creative decisions and logistical complexities of shaping the Sound of Black Mirror.

Resurface · The Sound of Black Mirror Season 7

A World of One-Offs

What sets Black Mirror apart—beyond its existential dread and Charlie Brooker’s technological prophecy—is its anthology format. Each episode exists in its own universe, which means the audio team must start from scratch every time.

“There’s no Queen Vic, there’s no Rick Grimes,” said Nemes, referring to the usual TV constants. Jenkins elaborated, “Creatively, it’s incredibly exciting… the different genres are so broad.” But he was also candid about the challenges: “Whilst we are a consistent team, composers are often different. The directors are different. The whole production team could be different.”

Ridgeway added, “Tom and I are one of maybe 20 people who are consistent across episodes. It’s like doing a series of back-to-back feature films.”

A major constant, however, is creator and showrunner Charlie Brooker, whose fingerprints are all over the sound. “He’s got a fascination with sound,” said Ridgeway. “If you put in a video game sound, he’s there on YouTube checking that it’s the right one.”

This can be a blessing or a curse, depending on how right—or wrong—the team gets it. Jenkins recalled the ordeal of designing audio for the episode Plaything. “It was an 11-month process… hundreds of iterations… because I kept doing it wrong,” he said with a laugh.

But Brooker’s involvement is always story-driven. “Any conversation we’re having about the sound of video games or technology… it’s never just to be accurate,” Jenkins noted. “It’s, ‘How does it support the story? How does it make our characters feel?’”

A Deep Dive: Hotel Reverie

In particular, the discussion centred on Hotel Reverie, a standout episode that straddles a modern tech dystopia and 1940s Hollywood glamour. The episode features a contemporary actress inserted into a classic film using a fictional AI platform called Redream. The sound design had to toggle between these eras—sometimes within the same scene.

“There was a meeting quite early on where we were brought onto Zoom to discuss, ‘How far do we go?’” Ridgeway recalled. One key debate was whether to record dialogue using actual vintage microphones. “I said, ‘I don’t have those mics, and I wasn’t born then” Annor joked.

Ridgeway argued against the idea: “It’s not just the mic; it’s the old cables, the tape recorder… and we might not even use it in the mix.”

Instead, they opted to capture pristine production sound and then degrade it selectively in post. “We had to make it sound like 1940s cinema when we were in the film, but not be abrasive when cutting back to the control room or other modern-day environments,” Ridgeway said.

Mixing Worlds: Audio Inception

To maintain narrative clarity, the sound had to indicate not just where the characters were, but how they were experiencing that world. “It’s audio Inception” said Jenkins. “You’re either in the movie, in the control room watching the movie, or listening through an in-ear comms setup.”

The team created internal categories: the film score (for the 1940s sequences) and the Black Mirror score. “The film score was often in mono, thin and crunchy. But we allowed ourselves to break the rules toward the end for emotional effect,” Ridgeway said.

Jenkins emphasized the importance of emotional continuity. “It was never a one-size-fits-all treatment,” he said. “You needed to track the emotion of the characters.”

For Annor, the early collaboration was a rare and welcome change. “It was like a dream come true to actually be able to talk to the sound design team during the shoot,” she said. “On some jobs, you never even speak to them—they’re not hired yet.”

That early engagement paid off. “It meant we could experiment, make mistakes, and find happy accidents,” said Jenkins. “If you wait until the final mix to make those decisions, you don’t have the time.”

Advice for Creators: Start Early, Talk Often

Asked what advice they would offer producers or directors working with sound, the panelists were unanimous: involve your sound team early.

“Time should be given for these things,” said Annor. “People think, ‘You can hear it, it’s done.’ But there’s so much nuance.”

“Netflix has been supportive,” Ridgeway noted. “But what matters is adapting the process to the episode. These aren’t 22-minute sitcoms. Every episode is a different length, a different world.”

Sound Favorites from the Team

To close the session, an Audience member asked the panelists their favorite Black Mirror episode from an audio perspective.

Annor chose San Junipero: “It was just a beautiful piece of writing—and I could relate to the story.”

Ridgeway went with Bete Noir “Bete Noir is just an office drama… with a big sci-fi twist. And Callister had one of the most fun scores I’ve ever worked with—homages to so many sci-fi themes.”

Jenkins echoed the love for Callister: “I grew up a Star Trek and Star Wars nerd. Getting the script, realizing we’d get to do space battles with our own take on that sound—it was just exciting.”

Final Thoughts

Black Mirror may be known for its bleak outlook on technology, but for those behind the scenes, it’s a creative playground. Season 7 proves that audio storytelling isn’t just an afterthought—it’s essential to the emotional and narrative fabric of the series.

“We’re not just making things sound good,” Jenkins said. “We’re telling the story—with emotion, with clarity, and with the freedom to experiment.”

Thanks to Netflix, the panel participants and attendees. For more behind-the-scenes insight into Black Mirror, check out Netflix’s Tudum page.

MPTS Returns 13 and 14 May 2026. Register Here.

The post The Sound of Black Mirror Season 7: From Script to Screen appeared first on Resurface.

Sound Story Network

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325 – Cultivating Creative Flow in Game Audio Development (Sonic Days Conference)

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324 – Black Mirror

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One Year Alone in the Forest: Day 1

What I’m Doing

The Gear Setup

Wind Protection

Power

Custom Battery Enclosure

Monthly Returns: A Ritual of Listening

What’s Next

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Sound Favorites from the Team