Sound Story Network

331 – The Sound Legacy Of Harry Potter With James Mather Pt 1

Timothy Muirhead — Mon, 20 Oct 2025 20:26:36 +0200

The sound design in the Harry Potter series completely changed the way audiences expect magic to sound on screen. Those magical sounds also had to evolve as the series went on, to match the skills developed by the main characters. James Mather was the Supervising Sound Editor on the final…

Save up to 89% in this insane Soundmorph Sale!

Asbjoern Andersen — Fri, 17 Oct 2025 14:33:10 +0200

Get the biggest savings ever on SoundMorph's amazing libraries here:

The post Save up to 89% in this insane Soundmorph Sale! appeared first on A Sound Effect.

Save up to 89% in this insane SoundMorph Sale!

Asbjoern Andersen — Fri, 17 Oct 2025 14:33:10 +0200

Get the biggest savings ever on SoundMorph's amazing libraries here:

The post Save up to 89% in this insane SoundMorph Sale! appeared first on A Sound Effect.

20 great new audio jobs at Volvo, Microsoft, Rebel Wolves, Forever Audio, Enhance, Digital Daredevils, L-Acoustics, Level Infinite, HiTech AV Systems, Munster Technological University, My Sheet Music Transcriptions, Radical Forge, That’s No Moon, Absurd V

Adriane Kuzminski — Thu, 16 Oct 2025 14:56:04 +0200

We came across interesting new jobs at Enhance, Digital Daredevils, L-Acoustics, and Level Infinite:

Enhance is hiring a Lead Audio Designer with experience creating the total audio soundscape for new studio projects (Japan)
Digital Daredevils is looking for a Sound Designer who is proficient in creating, editing, and mixing sound effects, designing atmospheric ambient sounds, and processing and implementing voice-overs (Poland)
L-Acoustics is seeking an Immersive Audio Research Engineer to research and develop cutting-edge audio algorithms for the L-ISA platform, with a strong emphasis on real-world impact (England)
Level Infinite is recruiting a Junior Audio Designer with experience in audio design for 2D game projects, skills in Soundminer, and a good understanding of audio workflows (SH, China)

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

330 – Sonic Days Interviews

Timothy Muirhead — Wed, 15 Oct 2025 20:19:32 +0200

Last year I got to go to the Sonic Days Conference in Denmark, to do a bunch of interviews with the various people doing presentations about their sound work. With the schedule and presenters for the 2025 edition of the conference now announced, these interviews can give you an idea…

Forging the Resolute Sound of Stephen King’s ‘The Long Walk’ – with Jeremy Peirson

Jennifer Walden — Wed, 15 Oct 2025 13:10:34 +0200

How propeller planes were used to create 'evil' truck-bys, why cicadas played a role in the death-by-spoon scene, how panning glued the dialogue and foley, and much more!

The post Forging the Resolute Sound of Stephen King’s ‘The Long Walk’ – with Jeremy Peirson appeared first on A Sound Effect.

The Ultimate Horror Sound Guide 2025: Behind the Scariest Sound for Film, TV & Games + How to Make Your Own Terrifying Sound Effects:

Asbjoern Andersen — Wed, 15 Oct 2025 12:04:38 +0200

How the most terrifying sounds for horror movies, series & games are made + get free horror sounds & learn to create your own scary horror sound effects:

The post The Ultimate Horror Sound Guide 2025: Behind the Scariest Sound for Film, TV & Games + How to Make Your Own Terrifying Sound Effects: appeared first on A Sound Effect.

10 new sound libraries: Tabletop games, Buzzing wings, industrial soldering, versatile doors, polyester suits, and more

Adriane Kuzminski — Wed, 15 Oct 2025 09:21:39 +0200

The post 10 new sound libraries: Tabletop games, Buzzing wings, industrial soldering, versatile doors, polyester suits, and more appeared first on A Sound Effect.

20 great new audio jobs at Codemasters, LEGO, TED Conferences, Yamaha, Sonos, Skywalker Sound, CBC/Radio-Canada, Treyarch, Voodoo, Hundred Star, Nationale Opera & Ballet, un:hurd music, Shuttlerock, Reality Games, Bix Team, 4Wall, Arrowhead Games Studios,

Adriane Kuzminski — Thu, 09 Oct 2025 15:04:48 +0200

We came across interesting new jobs at Reality Games, Bix Team, Codemasters, and Skywalker Sound:

Reality Games is hiring a Lead Audio Designer to be responsible for creating the soundtrack of an entire world – from ambient loops to iconic motifs (Poland)

Bix Team is looking for a Sound Designer to create an immersive audio experience that captures the intensity and atmosphere of World War I battles in WELTKRIEG 1: Firestorm (Remote)

Codemasters is seeking a Dialogue Design Intern to play a key part of a small, dynamic team leading dialogue elements within the F1 franchise (England)
Skywalker Sound is recruiting a Software Engineer to play a key role in conceiving and developing tools to help usher in the new era of post production audio content creation (CA, US)

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

Recording Prehistoric and Medieval Sounds

Angel Perez Grandi — Thu, 09 Oct 2025 01:00:05 +0200

Ancient Sounds

Recording Prehistoric & Medieval Instruments
with Ancient Music Ireland

At Sound Ark, we have are incredibly fortunate to collaborate with fantastic people on some truly fascinating projects. This is a fine example.

I first met Simon and Maria, founding members of Ancient Music Ireland, quite by chance. We were gathered in the canteen at Marble Arch Caves, grabbing a quick bite before the start of an unusual concert that I was about to record. Among the group of fine musicians, conversation turned quickly to our respective fields. When I explained my background in film sound, Simon and Maria mentioned they had been looking for a way to present their sounds to the audio-visual production community.

"Look no further!" I said.

A Collaboration Years in the Making

About a year later, Maria got back in touch. After several postponements due to travel restrictions and subsequent lockdowns, I finally made it to their home studio – a beautiful, remote spot tucked away at the end of a valley lane in the Mountains of North County Galway.

I arrived late at night and didn't see much at first. But when morning broke, I realised I was somewhere quite special.

Ancient Music Ireland, A Labour of Love

Simon and Maria have spent over 35 years researching, performing, producing, and promoting ancient musical instruments from Ireland and beyond. Their work is a true labour of love that sits at the intersection of art, history, and sound.

What they do blends experimental archaeology, experimental acousticology, instrument design, and musical performance. Their mission goes beyond music - it's about preserving our shared acoustic heritage: capturing how the world might have sounded thousands of years ago.

Their dedication to authenticity, craftsmanship, and sonic beauty has put them at the cutting edge of their field. And it's something we at Sound Ark feel deeply connected to.

The Recording Process

Capturing the unique sounds of these ancient instruments presented an exciting challenge. Here's a little glimpse behind the scenes:

Pre-Production

Pre-planned details were crucial: gathering names, photos, and as much information about the instruments and recording location as possible.
We aimed to record at the highest possible bit and sample rates to ensure maximum fidelity.

Recording Approach

Controlling the acoustics was key. We wanted a neutral sound, but we also embraced the natural acoustics of the valley and studio where appropriate.
Instruments were recorded with generous headroom - at least 6dB - avoiding any unnecessary compression or limiting. These are still musical instruments, not V8 engines!

Editing and Mastering

All "false takes" were kept; what may seem like a mistake could be gold in the right hands.
We avoided any heavy-handed spectral plugins, knowing that artefacts would become audible especially when samples are pitch-shifted later.
Great care was taken with editing: checking for unwanted clicks, especially after pitch manipulation, and ensuring clean waveforms at the tops and tails.

Crafting ALIEN: EARTH’s Astounding Sound – with Lee Gilmore, Brad North, Nolan McNaughton, and Justin Davey appeared first on A Sound Effect.

World Premiere! Behind The Sound: The Making of Animal Hyperrealism Vol IV – a documentary by Greg Lester

Greg Lester — Wed, 08 Oct 2025 09:54:31 +0200

How Mattia Cellotto's extraordinary sound effects library was created - from preparation and recording, to editing, mixing and the creation of the final product:

The post World Premiere! Behind The Sound: The Making of Animal Hyperrealism Vol IV – a documentary by Greg Lester appeared first on A Sound Effect.

New features in REAPER 7.48 – Low Pass Item Fade; save/load latch presets and more

Admin — Wed, 08 Oct 2025 05:53:15 +0200

Learn the latest features and changes in REAPER version 7.48

The post New features in REAPER 7.48 – Low Pass Item Fade; save/load latch presets and more first appeared on The REAPER BLOG.

New audio job for a SENIOR SOUND DESIGNER at LEGO

Asbjoern Andersen — Tue, 07 Oct 2025 18:38:46 +0200

There’s a brand new audio job opportunity for a Senior Sound Designer at LEGO Design in Billund, Denmark for you here:

Learn more about the audio job opportunity here

Be the first to know about exciting new audio job posts: Get the Audio Jobs newsletter here

The post New audio job for a SENIOR SOUND DESIGNER at LEGO appeared first on Soundlister.com.

24 great new sound libraries: colossal impacts, twilight drones, diverse animals, nautical ambiences, train life, and more

Adriane Kuzminski — Tue, 07 Oct 2025 14:22:03 +0200

Explore these 24 new sound effects libraries from the independent sound community, and get the freshest sound effects available:

The post 24 great new sound libraries: colossal impacts, twilight drones, diverse animals, nautical ambiences, train life, and more appeared first on A Sound Effect.

329 – The Directors & Sound Team From Elio

Timothy Muirhead — Mon, 06 Oct 2025 22:58:58 +0200

Directors Domee Shi & Madeline Sharafian, join the show to talk about their approach to collaborating with the audio post team on the newest Pixar film, Elio. Re-recording Mixer Bonnie Wild & Supervising Sound Editor/Sound Designer Jeremy Bowker are also on board to share how they built the soundscape of…

Get a FREE Horror Sound Effect Library - for a (very) limited time only!

A Sound Effect — Mon, 06 Oct 2025 15:21:52 +0200

CIRCUS HORROR STRINGS – Halloween Deal

Asbjoern Andersen — Mon, 06 Oct 2025 09:30:03 +0200

⏰ Don't miss your chance to get a great deal on this premium horror sound effects library!

The post CIRCUS HORROR STRINGS – Halloween Deal appeared first on A Sound Effect.

20 great new audio jobs at Lingokids, Oculus, Giant Skull, Push Gaming, Spotify, Awaken Realms, Bagel Balloon, Bonfire Studios, CD Projekt, Escape Velocity, Moonbug, Voiding Bound, ADAM Audio, Artes Events, HARMAN, Riot Games, Tencent Games, The Hive, and

Adriane Kuzminski — Thu, 02 Oct 2025 12:48:35 +0200

We came across interesting new jobs at Giant Skull, Oculus Studios, Push Gaming, and Spotify:

Giant Skull is hiring an Audio Director to set the creative audio vision for a new game set in the Dungeons and Dragons universe (CA, US)
Oculus Studios is looking for a Senior Sound Designer to explore, define, and bring-to-life a new class of audio experiences to emerging platforms, especially VR (CA, US)
Push Gaming is seeking a Junior/Mid level Audio Designer to create, edit, master, and implement music and sound effects into their games using in-house tools (England / Hydrid)
Spotify is recruiting an Editor to contribute expertise to music-related projects, including playlists curation and cross-functional work (Germany)

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

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.

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

20 great new audio jobs at Skywalker Sound, Earthsound, Roblox, Supermassive, Blizzard, Meta Creative Audio, Netflix, Apple, One Line Studios, Horizon Productions, iGame Audio, Byxbyte Media, 10:10 Games, Absurd Ventures, Escape Velocity, Moonbug, The Aud

Adriane Kuzminski — Thu, 25 Sep 2025 13:28:25 +0200

We came across interesting new jobs at Earthsound, Horizon Productions, iGame Audio, and Byxbyte Media:

Earthsound is hiring a Foley Mixer and Editor who is interested in Foley, with training and development provided for the right person (England)

Horizon Productions is looking for an Audio Specialist who is passionate about capturing field audio and has experience in a variety of field and studio settings (NC, US)

iGame Audio is seeking a Game Audio Support for a highly flexible, variable & ongoing remote contract, in the range of 5-20 hours a week (Remote / UK)

Byxbyte Media is recruiting a Foley Artist / Sound Designer with experience in crafting impactful soundscapes to collaborate on their upcoming micro drama series (MA, India)

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

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

20 great new audio jobs at Riot Games, iHeartMedia, EA SPORTS, Bang Zoom!, Fuse Games, Well Done, Awaken Realms, Carnegie Mellon, Gameloft, GAMUCATEX, RUN Studios, SkyBull Gaming, Whiteboard Games, Black Shamrock, Garena, My Story Animated, Granta Sound,

Adriane Kuzminski — Fri, 19 Sep 2025 12:43:48 +0200

We came across interesting new jobs at Bang Zoom!, Fuse Games, Well Done Entertainment, and Riot Games Music:

Fuse Games is looking for an Audio Engineer who wants to do things like help animations drive sounds and create systems to play the perfect music based on what the player is doing (England)

Well Done Entertainment is seeking an Audio Designer with strong Unreal experience to work on audio design and implementation for a demo that they are building (Remote)

Riot Games Music is recruiting a Manager of Music Supervision with 10+ years in supervision or partnerships with team management experience to guide the execution of regional music strategies (CA, US / Hybrid)
Bang Zoom! is looking for an Audio Intern (college/university credit) who is interested in learning about the audio post world of film, television, and anime production (CA, US)

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

New Soundscape Designer game audio job at Larian Studios

Asbjoern Andersen — Tue, 16 Sep 2025 13:26:12 +0200

There’s a new audio job opportunity for a Soundscape Designer at Larian Studios in Guildford, UK for you here (via Stefan Randelshofer):

Learn more about the audio job opportunity here

(Important: If you’re having trouble viewing the job on LinkedIn, be sure to join the LinkedIn Audio Jobs group here first)

Be the first to know about exciting new audio job posts: Get the Audio Jobs newsletter here

The post New Soundscape Designer game audio job at Larian Studios appeared first on Soundlister.com.

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…

21 great new audio jobs at Netflix, Disney, ADAM Audio, Paramount, Bang & Olufsen, Apple, Bunny Studio, Symphonic Distribution, 5minlab, Berklee, Blizzard, Distant Moon, Gamingtec, Happy Sisyphus Productions, People Can Fly, Brisbane Sound Group, Larian S

Adriane Kuzminski — Thu, 11 Sep 2025 09:39:13 +0200

We came across interesting new jobs at Bunny Studio, Symphonic Distribution, Apple, and ADAM Audio:

Bunny Studio is hiring Voice Actors with professional experience, studio-quality equipment, and are ready to bring their voices to global audiences (Remote)

Symphonic Distribution is looking for a Product Manager (Rights Squad) for their Rights Squad who is passionate about building products to delight and empower clients (Remote)
Apple is seeking an Audio Expert with 5+ years professional experience in a combination of sound design, music creation, game audio, live sound, audio production and post-production fields (CA, US)

ADAM Audio is recruiting an Acoustics Working Student – Headphones to support their Acoustics Engineering role and to become an integral part of our esteemed pro-audio team (Germany)

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

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!

19 great new audio jobs at Discord, Housemarque, NBCUniversal, Focusrite, Audacy, Vox Media, NPR, Epic Games, Cygames, Shift Up, Wasserman, MetaWin Games, Narratix, Penguin Random House UK, Reel Audiobooks, Colorado Public Radio, Deluxe, HANCE, and Distin

Adriane Kuzminski — Fri, 05 Sep 2025 14:03:51 +0200

We came across interesting new jobs at Cygames, Discord, Shift Up, and Wasserman:

Cygames is hiring a Sound Engineer to be responsible for engineering work related to audio and sound recording (Japan)
Discord is looking for a Senior Software Engineer – Audio/Video Infrastructure who is passionate about building and scaling the software that powers their realtime audio and video communication infrastructure (CA, US)
Shift Up is seeking a BGM Sound Artist to work on a subculture cross-platform title that represents Eastern Fantasy (South Korea)
Wasserman is recruiting an Assistant, Music to perform a variety of administrative tasks to support client and internal matters (CA, US)

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

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,…

20 great new audio jobs at Nintendo, Red Bull, Lucid Motors, Warner Bros. Discovery, 10:10 Games, CD PROJEKT RED, CARIAD, Wispfire, Creative Circle, EA Create, Epic Games, Gameloft Bucharest, Apple, Eleven Sound, Meta, Microsoft Surface, Mountwest Music,

Adriane Kuzminski — Fri, 29 Aug 2025 01:25:31 +0200

We came across interesting new jobs at 10:10 Games, CD PROJEKT RED, CARIAD, and Wispfire:

10:10 Games is hiring a Lead Unreal Technical Sound Designer with technical expertise and creative vision to design, implement and optimize interactive audio using UE MetaSounds and modern audio tools (England)
CD PROJEKT RED is looking for an Audio Design QA Analyst with a solid background in QA with a strong focus on audio design in video games (Poland / Remote)
CARIAD is seeking a Working Student – Audio / Sound Software Systems (m/f/d) to help with creating audio engineering tools in an agile team environment (Denmark)
Wispfire is recruiting a Voice and MoCap Performer who are English-speaking actors from Europe for an unannounced game about vampires (Netherlands)

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

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…

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.

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.

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

How the Iron Golem sounds in A Minecraft Movie were made

A Sound Effect — Thu, 12 Jun 2025 12:25:53 +0200

Sound Story Network

331 – The Sound Legacy Of Harry Potter With James Mather Pt 1

Save up to 89% in this insane Soundmorph Sale!

Save up to 89% in this insane SoundMorph Sale!

20 great new audio jobs at Volvo, Microsoft, Rebel Wolves, Forever Audio, Enhance, Digital Daredevils, L-Acoustics, Level Infinite, HiTech AV Systems, Munster Technological University, My Sheet Music Transcriptions, Radical Forge, That’s No Moon, Absurd V

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330 – Sonic Days Interviews

Forging the Resolute Sound of Stephen King’s ‘The Long Walk’ – with Jeremy Peirson

The Ultimate Horror Sound Guide 2025: Behind the Scariest Sound for Film, TV & Games + How to Make Your Own Terrifying Sound Effects:

10 new sound libraries: Tabletop games, Buzzing wings, industrial soldering, versatile doors, polyester suits, and more

20 great new audio jobs at Codemasters, LEGO, TED Conferences, Yamaha, Sonos, Skywalker Sound, CBC/Radio-Canada, Treyarch, Voodoo, Hundred Star, Nationale Opera & Ballet, un:hurd music, Shuttlerock, Reality Games, Bix Team, 4Wall, Arrowhead Games Studios,

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Recording Prehistoric and Medieval Sounds

A Collaboration Years in the Making

Ancient Music Ireland, A Labour of Love

The Recording Process

World Premiere! Behind The Sound: The Making of Animal Hyperrealism Vol IV – a documentary by Greg Lester

New features in REAPER 7.48 – Low Pass Item Fade; save/load latch presets and more

New audio job for a SENIOR SOUND DESIGNER at LEGO

Learn more about the audio job opportunity here

24 great new sound libraries: colossal impacts, twilight drones, diverse animals, nautical ambiences, train life, and more

329 – The Directors & Sound Team From Elio

Get a FREE Horror Sound Effect Library - for a (very) limited time only!

CIRCUS HORROR STRINGS – Halloween Deal

20 great new audio jobs at Lingokids, Oculus, Giant Skull, Push Gaming, Spotify, Awaken Realms, Bagel Balloon, Bonfire Studios, CD Projekt, Escape Velocity, Moonbug, Voiding Bound, ADAM Audio, Artes Events, HARMAN, Riot Games, Tencent Games, The Hive, and

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

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

328 – Sesame Street

Jungle Run Sequence Mix Breakdown for Black Mirror Season 7

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

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

20 great new audio jobs at Skywalker Sound, Earthsound, Roblox, Supermassive, Blizzard, Meta Creative Audio, Netflix, Apple, One Line Studios, Horizon Productions, iGame Audio, Byxbyte Media, 10:10 Games, Absurd Ventures, Escape Velocity, Moonbug, The Aud

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

327 – KPop Demon Hunters

Hear the ANIMAL HYPERREALISM IV sound library teaser here!

20 great new audio jobs at Riot Games, iHeartMedia, EA SPORTS, Bang Zoom!, Fuse Games, Well Done, Awaken Realms, Carnegie Mellon, Gameloft, GAMUCATEX, RUN Studios, SkyBull Gaming, Whiteboard Games, Black Shamrock, Garena, My Story Animated, Granta Sound,

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New Soundscape Designer game audio job at Larian Studios

Learn more about the audio job opportunity here

326 – Weapons

21 great new audio jobs at Netflix, Disney, ADAM Audio, Paramount, Bang & Olufsen, Apple, Bunny Studio, Symphonic Distribution, 5minlab, Berklee, Blizzard, Distant Moon, Gamingtec, Happy Sisyphus Productions, People Can Fly, Brisbane Sound Group, Larian S

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

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

GV soundscape on Aeon essays

19 great new audio jobs at Discord, Housemarque, NBCUniversal, Focusrite, Audacy, Vox Media, NPR, Epic Games, Cygames, Shift Up, Wasserman, MetaWin Games, Narratix, Penguin Random House UK, Reel Audiobooks, Colorado Public Radio, Deluxe, HANCE, and Distin

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Avid Support – More New Restrictions

Hardware v Software Support

Who do the Avid Support changes affect, and how?

Advice for Buyers and Sellers

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

In Conclusion

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

20 great new audio jobs at Nintendo, Red Bull, Lucid Motors, Warner Bros. Discovery, 10:10 Games, CD PROJEKT RED, CARIAD, Wispfire, Creative Circle, EA Create, Epic Games, Gameloft Bucharest, Apple, Eleven Sound, Meta, Microsoft Surface, Mountwest Music,

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In Conversation With: Greg Stone

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

The Origin of Remoto

Designed with Practitioners in Mind

Democratising Access

Looking Ahead: ADR and Beyond

Reflections on a Changing Industry

Conclusion

324 – Black Mirror

323 – The Righteous Gemstones & Pee-wee as Himself

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

322 – The Sound Of Star Trek Roundtable

Fireworks with a Gorgeous View

Recording the Gorge Dam

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