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

These podcasts are all members of the Audio Podcast Alliance. → Learn more here

Re-recording Mixer Andy Nelson CAS shares his thoughts on dialogue, music and cinema at large in a conversation with Joshua Anderson CAS. Andy takes us through an almost 50-year career, from London to Los Angeles, dozens of award nominations, 2 Academy Awards, 5 BAFTAs, 3 CAS Awards and receiving the 2014 CAS Career Achievement Award.

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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, Remedy Entertainment Katrine Amsler, Sound Designer, IO Interactive Simon Stevnhoved, Senior Sound Designer, Massive Entertainment Mikkel Anttila, Freelance Sound Designer Moderated by Niels Böttcher, Sound Designer. Mark your calendars for Sonic Days 2025, and join Tonebenders’ host Tim Muirhead, in Kolding Denmark on November 19th and 20th.

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Oliver Kadel and Monica Bolles are joined by the spatial sound artist and academic Angela McArthur from London, UK. We dive into the IKO, 3D inside-out playback speaker system developed by Sonible, IEM, which offers unique characteristics, making the space architecture part of the sound presentation.

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Stuart Piggott AMPS Production Sound, James Ridgway Re-Recording Mixer and Tom Jenkins Supervising Sound talk with Martyn Harries AMPS about the sound on Black Mirror, USS Callister and about their work and the industry in general.

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My next guest is Ken Usami, Senior Manager of the Capcom Sound Team consisting of over 90 people, Audio Director, Sound Designer, Music Composer, Educator, guitarist – just so many things! Since joining Capcom in 2012 after graduating from Berklee College of Music, Ken has played a key role in shaping the audio experience of major titles like Resident Evil 7. From Foley recordings to immersive sound design, his work has helped define the eerie, tension-filled atmosphere that makes these games unforgettable.

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Mike Fitzgerald is a production sound mixer and boom op based out of Orlando, Florida. He uses a Sound Devices 833 mixer/recorder combined with the Sound Devices SL-2. He also uses two Lectrosonics DSR4 receivers and Lectrosonics SMQV and SMWB transmitters. Mike uses Sanken COS-11D lav mics. For timecode, the Denecke JB-1 are his choice for sync boxes. When wiring talent, Mike likes the Viviana Super Dots and Extreme Moleskin for expendables. On the boom pole, he use the Schoeps CMC641 and CMIT5u mics, as well as the Sennheiser MKH-416. And he recently got a Blackbird audio cart.

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My guest today is Alejandro P’rez Heinze who is a composer, Flamenco guitarist, audio engineer, Kontakt instrument producer, and audio educator based in Mexico. He has worked on a wide variety of projects including Kontakt instrument production on Kena: Bridge of Spirits, also working with Austin Wintory on projects such as Thai Cave Rescue, and composing on games such as Frogreign.

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In this exclusive SoundWorks Collection conversation, we chat with Oscar and Grammy-winning composer Gustavo Santaolalla and composer David Fleming about the emotional and sonic landscape of The Last of Us Season 2. The composers break down how they expanded the show’s haunting, intimate sound world – blending acoustic textures, raw instrumentation, and ambient tension to match the evolving journey of Ellie, Joel, and the world around them.

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Not only did Ben Baird design and mix the sound for director Alex Parkinson’s DRAMATIC film, Last Breath. He also designed and mixed the sound for director Alex Parkinson’s DOCUMENTARY film, Last Breath. Same story told with two different approaches; documentary and dramatic – using the same director, same composer, and of course, same sound designer and mixer.

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Emmy Award’-nominated Director Philip Barantini and fellow nominees ‘ including cinematographer Matthew Lewis and the sound team of James Drake, Jules Woods, Rob Entwistle, and Kiff McManus ‘ join us this week to discuss the making of ‘Adolescence,’ Netflix’s hit limited series. Nominated for thirteen Primetime Emmy Awards, including Outstanding Limited or Anthology Series, the show’s four episodes were each filmed as single, continuous takes, creating a gripping real-time experience for viewers ‘ and offering some unexpected advantages for the filmmakers.

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It’s one of the quirkiest, most iconic sonic logos ever: a four-note vocal flourish that defined the early internet. In this episode, we follow the Yahoo Yodel on its unlikely journey from the snowy Swiss Alps to ’90s country bars to Super Bowl ads. Along the way, we meet the real-life cowboy behind this yodel, whose voice launched a billion clicks.. as well a high-stakes legal battle. Featuring musician and yodeler’, Wylie Gustafson.

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