Current Issue
April 2016

Jennifer Walden
Authored Articles
VR Game Sound: 'Dead Secret'
Published: March 21, 2016

You’re a detective checking out a creepy farmhouse that’s the scene of the owner’s murder. You search for clues by exploring different rooms, and while nothing ‘jumps’ out to scare you, this overwhelming feeling of unease escalates until you’re running for your life, trying to escape and hide from the killer. Robot Invader’s mystery-adventure VR game Dead Secret, available now for Samsung Gear VR, combines two things that VR does really well for games — makes exploration interesting, and immerses the player into the game experience. And Robot Invader does it very successfully, with visuals and sounds working seamlessly together. 
Sound Editing: 'Star Wars: The Force Awakens'
Published: January 19, 2016

With nearly 40 years of cinema history, a die-hard diverse fan base that spans both time and globe, countless spin-offs, spoofs and robust merchandising that was set to generate $3 billion in sales in 2015 alone, Star Wars is a super continent among the islands of cultural icons. Other film franchises have managed to stay relevant for decades —  Jurassic Park, Mad Max, Rocky and  Star Trek to name a few, but they somehow lack that infectious essence that makes grown people want to dress up like Stormtroopers or Wookiees and build working replicas of a certain astromech droid. 

Audio: 'Ash vs Evil Dead'
Published: December 1, 2015

BURBANK, CA — Award-winning Foley mixer John Sanacore has worked on hundreds of projects, from Oscar-winning films that include Zero Dark Thirty, The Hurt Locker and  Birdman, to Emmy-winning series like Fox’s  Bob’s Burgers and  Black Sails on Starz. He recorded Foley for the pilot episode of the Starz series  Ash vs Evil Dead that premiered October 31st. He recently completed Foley supervision on the upcoming Warner Bros./DC Comics film  Batman v Superman: Dawn of Justice, and Disney’s nautical rescue adventure  The Finest Hours. “I’m really passionate about my job,” says Sanacore, who owns Foley studio Core Post in Burbank, CA (, as well as works as a freelance Foley mixer/Foley supervisor/Foley editor at studios like Warner Bros., Sony Pictures and the Formosa Group in Los Angeles.
Audio: 'Crimson Peak'
Published: October 16, 2015

Over the course of his career, sound designer Randy Thom, at Skywalker Sound in Marin County, CA (, says he’s been lucky to work with a few directors who really respect sound as a collaborator, but none so much as director Guillermo del Toro. Thom, who likes getting involved as early as possible on a film, visited director del Toro on-set during the filming of Crimson Peak, a supernatural horror romance film about young horror novelist Edith Cushing (played by Mia Wasikowska), who moves into her new husband’s dilapidated, and exceptionally haunted mansion.
Dolby Audio: Offering a new sound experience for mobile games
Published: May 6, 2015

Most new Android devices are already equipped with Dolby Audio ( (supporting Dolby Digital Plus), and Android game developers can take advantage of those built-in Dolby audio-processing components to noticeably improve their game’s sound experience. And best of all, they can do it for free with Dolby Audio API for Android. To help explain how game developers and audio pros can use and benefit from Dolby Audio, Somatone Interactive's ( chief operating officer Adam Levenson sheds some light on mobile game audio and answers key questions about Dolby Audio.
Audio:'s 'Welcome to the Wayne'
Published: April 7, 2015

Each four-minute episode of’s Welcome to the Wayne (, with its rapid-fire jokes, action, and plot-points, seems to cover as much ground as a half-hour episode. The six-part digital series, created by Emmy-nominated writer and composer Billy Lopez, follows two 10-year-old boys, Olly and Ansi, as they explore the topsy-turvy world of their New York City apartment building, The Wayne. Beatstreet Productions Emmy award winning mixer/sound designer Matt Longoria says, “The Wayne is a fantastic, crazy place with lots of different, weird characters. In the short form we’re working with, the jokes come really fast.” Longoria and Beatstreet Productions sound designer Bobb Barito try to squeeze as much humor out of each episode as possible. Barito adds, “It’s our job to ground the insanity of the animation because there’s so much going on. The creator Billy has a crazy, high-energy vision and it’s up to us to make that relatable on the screen.”
Audio For Mobile Games
Published: March 9, 2015

On the train platform on your commute home from work, on the plane before take-off, at your nephew’s middle school winter recital, and even in the bathroom — yeah, I went there and you know you have too — everyone seems to be occupied with mobile games. And not simply as a means of killing time. These games offer stolen moments of self-indulgence, of escape, of risk-free interaction with strangers. Today, as users demand higher quality entertainment crammed into those 100MB download packs, these AAA games in the palm of your hand are delivering 3D-graphics, better game interfaces, and richly-designed sound (that doesn’t annoy, and doesn’t distort).
Audio For Games
Published: March 6, 2014

Building an interesting combat soundtrack is tricky because typically the gameplay is repetitious. There’s a lot of bang-bang-bang happening (or clang-clang-clang, depending on the era of the storyline). So how do you break the monotony? Offering players a variety of weapons is a good start, but that’s only scratching the surface. No matter the size of the arsenal, sounds need to change. Adjusting the EQ to account for perspective or adding reverb in spacious environments are effective changes that add variety and keep a game from sounding too gamey. Improving the game’s dynamic range also keeps the soundtrack from becoming stagnant, and it helps players from becoming sonically fatigued. These game audio pros share their combat game experiences, and how they build compelling combat soundtracks.
Audio: Mixing Web Series
Published: July 8, 2013

There are so many variables in mixing a Web series. It’s not an easy job. There are no set guidelines for levels. There are no set guidelines for encoding the audio — something the mixer has no control over. You spend tons of time getting a mix perfect and then it gets squashed during the encoding process. Frustrating!
Audio for TV Series
Published: April 18, 2013

We are a creative bunch, and the reality of our work is tight deadlines. The trick is to keep a balance between working quickly but carefully without sacrificing creativity. So how do we do that? 
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