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Posted by on Jun 14, 2016 | 0 comments

What Is Soundlister? – An Interview with Asbjoern Andersen

Asbjoern Andersen is a composer in Danish audio production company Epic Sound (, where he works with sound designer David Filskov and orchestral composer Simon Ravn on audio for games, film, television and for product branding. He’s also the founder of A Sound Effect (, a site for independent sound effects, and he’s the co-founder of Soundlister (, along with Zdravko Djordjević from The Audio Spotlight ( We got a chance to ask him about this latest initiative and how it might help the audio community.

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Asbjoern Andersen


Designing Sound: How would you describe Soundlister?

Asbjoern Andersen: The idea with Soundlister is to create a hub – or directory – for the audio community: A place where you can gather your online presence as an audio pro, showcase your demos, highlight your accomplishments – and be featured alongside other audio talents so you’re easy to find.

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Posted by on Jun 13, 2016 | 1 comment

Pushing the Boundary – Your Stories: SFX Creators, Part 3

A pair of boom mics sit on a platform deep in the rainforests of Kamakura, Japan. Article edited by Adriane Kuzminski.

Photo: Tim Prebble

If you are a sound effects or synth creator who has submitted a library to the Designing Sound monthly recaps and you would like to contribute to this series (and for some you haven’t received the questionnaire—check your spam folder), please email


In this third installment about how SFX creators have pushed artistic and professional boundaries, we hear from HISS and a ROAR, Dynamic Interference, and Norsonant. Stay tuned for more stories from our community later this week and next week.

1. What is your name, and who are your team members/co-creators?

HISS and a ROAR @timprebble: My name is Tim Prebble

Dynamic Interference @DynInterference: Shaun Farley, and it’s just me…unless you count my dog.

Norsonant @norsonant @thomasalf: My name is Thomas Alf Holmemo and I founded Norsonant. Marius Ytterdal joined the team when we started an audio post production company together in 2015. We also worked with Jory Prum who helped us record the ‘Shiba dog’ library before he passed away.

When was a time you felt you pushed the boundaries to capture the perfect sound effect? 

HISS and a ROAR: For me it occurs constantly, all of the time—it is a fundamental part of my nature and my ethos, my work: evolution, research and a constant motivation to explore unknown territory, whether it’s in the studio or out in the field. I love the feeling of travelling home after having captured unique new material and knowing that if it wasn’t for the fact that I had put myself in the path of that sound or image, it would not exist (other than ephemerally).

I fully acknowledge the giants on whose shoulders we all stand. For example, my exploration of contact mic recording might never have occurred without the incredible creative work done by Alan Splet and Anne Kroeber. In many ways their work was my starting point, but constant experimenting and exploring rapidly pushed me into uncharted territory.

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Posted by on Jun 10, 2016 | 0 comments

Pushing the Boundary – Your Stories: SFX Creators, Part 2

Two people ride an elephant in Thailand. The man holds a boom mic near the elephant's head as it trumpets.

Photo: Gaël Nicolas

If you are a sound effects or synth creator who has submitted a library to the Designing Sound monthly recaps and you would like to contribute to this series (and for some you haven’t received the questionnaire—check your spam folder), please email The deadline is 14 June.


We’ve had a great turnout from the SFX creators in our community for this month’s topic. This is the second roundup featuring Spheric-collection, Sonotrigger, Secret Source, Debsound and Piggysounds. Stay tuned for more installments over the next few weeks.

What is your name, and who are your team members/co-creators?

Spheric-collection: Hi, I’m Gaël Nicolas, and I’m a French sound editor. I’ve worked mostly in feature film for the last 15 years. I created to feature ambisonic sound recordings dedicated to sound editing.

Sonotrigger @sonotrigger @SoniKSoundLib: My name is Damián Sánchez and I partner with Alberto Carlassare who is the main sound designer in our company.

Secret Source: My name is Jeff Pitts. I collaborate with Benjamin Cook and Alex Knickerbocker for this project.

Debsound: My name is József Illyés from Debrecen, Hungary. Currently I operate as a one-man army.

Piggysounds @piggysounds: My name is Rafael Hofstadter and I’m the one-man-band behind I’ve got no stable team, but I’ve got a lot of friends, fellow musicians and sound designers who collaborate with my sound design and SFX projects from time to time.

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Posted by on Jun 6, 2016 | 0 comments

Pushing the Boundary – Your Stories: SFX Creators, Part 1

A boom mic and digital recorder sit at the edge of a rooftop facing a dusk sky over a city in the Netherlands. Article edited by Adriane Kuzminski.

Photo: Sebastiaan ter Burg with alterations.,_Utrecht.JPG

If you are a sound effects or synth creator who has submitted a library to the Designing Sound monthly recaps and you would like to contribute to this series (and for some you haven’t received the questionnaire — check your spam folder), please email The deadline is 14 June.


When creating sound effects, how have you pushed the boundary? We asked this question to the SFX and synth creators in our community, and they responded with stories about how they’ve adapted, innovated, experimented, and had fun with their areas of expertise. This is the first installment of the series. Stay tuned for more later this week.

What is your name and who are your team members/co-creators? @zap_splat
My name is Alan McKinney, and I work with freelancer sound designers and developers where required, but usually alone.

Mattia Cellotto Audio Libraries @mattiacellotto
Mattia Cellotto.

Red libraries @redlibraries
We are Cedric Denooz and Frederic Devanlay, the guys from Red libraries. We co-created our company 2 years ago, but we’ve known each other for 7 years now.

SoundBits @SoundBits_Sound
Hi, my name is Saro Sahihi, Sound Designer and Owner of SoundBits. I work alone most of the time, but sometimes I hire someone, or I ask one of my students to help me with large field recordings or with preparing content for different webshops (like the UE Marketplace or Unity Asset store).

When was a time you felt you pushed the boundaries to capture the perfect sound effect? I’ve come close to being arrested on a couple of occasions now. The first time I was recording at the foot of the runway at Gatwick airport here in the UK. I suppose I was acting suspiciously by lurking in the dark just a few hundred feet below landing aircraft. The police accepted my apology on that occasion and let me go without further explanation. It hasn’t stopped me from taking risks to get the perfect recording though. The riskiest and scariest for me was recording at the top of a waterfall in Devon. I am not good with heights and these particular falls were high, but I just had to record every angle and level possible. I got to the top, slipped and dropped my recorder. An expensive mistake, but I was just glad it wasn’t me that fell.

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Posted by on Jun 3, 2016 | 0 comments

Playing with the Boundary: An Interview with Eduardo Ortiz Frau

Eduardo Ortiz Frau is a freelance game audio designer based in Austin, TX. He has worked in audio and music production for over ten years and has been working in sound design for games since 2011. He’s worked on titles like The Stanley ParableApotheon, and Neverending Nightmares. Eduardo Oritz Frau was kind enough to answer some of our questions about his work including his experiment in representing himself as a company as opposed to an individual sound artist.

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Eduardo Ortiz Frau





















Designing Sound: How did you get into sound?

Eduardo Ortiz Frau: Like many other sound designers, I came into this profession because of my love for music. Music was all I used to think about when I was younger. I was in bands, I studied audio engineering and classical composition, worked in recording studios, etc. Eventually, I got burned out on the music industry. I wasn’t feeling inspired by it anymore and I was also struggling to make a living within it. So I ditched it, moved to Austin, TX and started exploring other ways I could employ my audio skills. That led me to discover the video game industry and, specifically, the world of indie games. I had no idea what was going on with indie games before this time, but needless to say, I was completely enthralled by what seemed to me like THE up and coming medium to work with. So I focused all my energy and resources into breaking into the industry.

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Posted by on May 26, 2016 | 5 comments

Music Cognition and Psychoacoustic Research: An Interview with Dr. Susan Rogers

For this month’s theme of “Research”, Dr. Susan Rogers was kind enough to answer our questions about her work and research in music cognition and psychoacoustics. Susan Rogers holds a doctorate in cognitive psychology from McGill University (2010). Prior to her science career, Susan was a multiplatinum-earning record producer, recording engineer, mixer and audio technician. She is currently an Associate Professor at Berklee College of Music, Boston, teaching music cognition, psychoacoustics, and record production. She is the director of the Berklee Music Perception & Cognition Laboratory where she studies auditory processing in musicians.

Dr. Susan Rogers

Dr. Susan Rogers – credit Jandro Cisneros









Designing Sound: What drew you towards the subject of psychoacoustics and music cognition?

Dr. Susan Rogers: I have an engineer’s mind. I like understanding mechanisms and processes. I also have a scientist’s mind because I am curious about natural phenomena. Auditory science and brain science attract similar kinds of thinkers — those who are ok with imagining the mechanism and process. We typically don’t view air pressure variations, electrons or nerve spikes in action; we must often infer the process from the resulting behavior or event. Short answer is that it’s just fun.

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Posted by on Feb 18, 2016 | 2 comments

The Programmed Music of “Mini Metro” – Interview with Rich Vreeland (Disasterpeace)

As art of the Audio Programming theme this month, I thought it would be interesting to learn about the interactive/reactive score to Mini Metro, a game which was released late last year by developer Dinosaur Polo Club to broad critical acclaim.

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I sat down recently with Rich Vreeland (aka ‘Disasterpeace’) to discuss the project. Rich was the composer and designed the music system in Mini Metro. Pretty much everything you hear in the game consists of samples that are trigged in real-time as a result of player actions.

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Posted by on Oct 28, 2015 | 1 comment

Spectral Analysis: Interview with Gordon Durity

Many thanks to Brad Dyck for contributing this interview. You can follow Brad on Twitter @Brad_Dyck

Gordon Durity is the Executive Audio Director of the EA Audioworks team, which supports the audio development of the upcoming Need for Speed release available on November 3rd, 2015 for PS4 and Xbox One (PC due in the spring of 2016). I’d like to extend my thanks to Gordon for sitting down to chat with me.

Brad Dyck: Could you describe some of the responsibilities you deal with day to day?

Gordon Durity: I look at all the titles that I’m in charge of – all of the sports games, Need for Speed, Plants vs Zombies and mobile products just to keep track of where everything’s going as far as audio content and quality. I do R&D as well, looking at where our technology is headed, what’s out there competitively, what we’re building in-house, what we need to build for emerging platforms, and what we need to re-factor to make things work better. Because we’re a central team, I spend time with the senior leaders of the titles we service whether it’s FIFA, Madden or Need for Speed, just to make sure that we’re completely aligned with our dev partners.

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Posted by on Oct 12, 2015 | 0 comments

Interview with Rich Vreeland (Disasterpeace) on Restrictions

Earlier this month on a rare rainy Bay-Area day, I sat down with composer and musician Rich Vreeland (aka Disasterpeace) to discuss last month’s theme of “Restriction”. Rich is best known for his work in video games having composed music for “Fez”, “Bit.Trip Presents: Runner2”, “Gunhouse” and the forthcoming “Mini Metro” and “Hyper Light Drifter”. Most recently his score to the critically acclaimed motion picture “It Follows” received unanimous praise.

photo credit Nika States

Rich Vreeland (Disasterpeace) – photo credit Nika States


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Posted by on Aug 10, 2015 | 4 comments

Interview with Steve Tibbo – Emmy Winning Production Sound Mixer for ABC’s “Modern Family”

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Steve Tibbo, CAS, with cart on set at “Modern Family”


A few days after this interview with Steve Tibbo, he was nominated for the 6th time for a Primetime Emmy Award for Outstanding Sound Mixing for his work on ABC’s “Modern Family”, where he has been the production sound mixer on every episode other than the pilot. The episode that was nominated is called “Connection Lost“. We discuss this episode in detail and talk about this complex undertaking as well as many other topics ranging from his work on Modern Family to the gear he uses to record on set and on location, and we also delve into his work in re-recording mixing, ADR, and sound design for film and TV.  This month’s theme is “Favorites” and “Modern Family” is my favorite TV Comedy and sound is my favorite subject.

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