9 new podcast episodes worth hearing: Hear the secrets behind Hans Zimmer’s music, Nathan Moody’s ‘MetalMotion’, live sound for NASCAR, the future of immersive audio & much more!

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

We talk with Norway’s own Tormod Ringnes, about his excellent sound work on director Margreth Olin’s new documentary, Songs Of Earth. As the film’s title implies, the sound of the film is extremely important. We follow the director’s 83 year old father as he hikes the rugged and beautiful nature of Norway in every season of the year. From intense ice sound design to desolate mountain silence.

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In this 100th-anniversary episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles travel to the SXSW conference in Austin, Texas to host a panel discussion on the State of Play of Immersive Audio – Past, Present & Future. We proudly feature our special guests the Segment Manager for Immersive and Experiential Applications at HOLOPLOT – Natalia Szczepanczyk and the Co-Founder and CTO of Audioscenic Limited – Marcos Simón.

This panel highlights the key developments that have defined the immersive audio industry for the past decade, reflects on the current trends and looks to the future. Our expert guests cover the key sectors: large-scale immersive events, interactive live performance, spatial audio for consumer devices and specialist virtual training and immersive media production. In an era where audio experiences are becoming increasingly integral to entertainment, gaming, virtual reality, and beyond, understanding the latest innovations and market dynamics is crucial. We discuss spatial audio, content creation, consumer adoption, and market challenges and opportunities.

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In this Special AMPS Podcast celebrating nominees in the 11th AMPS Film Awards, Sound Designer / Supervising Sound Editor Richard King talk to Ian Haydn Smith about the role of sound on OPPENHEIMER. The podcast discusses working with director Christopher Nolan and creating the sound for the Trinity explosion.

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I’m thrilled to welcome Glenn Goa, a seasoned sound designer with over a decade of experience in the audio industry. Their expertise spans across various mediums, from video games to film, and encompasses a wide range of audio-related fields. As a Senior Sound Designer at Larian Studios in Belgium, Glenn’s contributions to projects like Baldur’s Gate 3 have been invaluable. As a freelancer at GOA Soundwizardry, they collaborate with renowned studios like Remedy Entertainment and CDProjekt Red. With a Bachelor of Arts in Audio Production and fluency in multiple languages, Glenn brings a wealth of experience and talent to our conversation.

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We loved having bandleader and drummer/percussionist Dom Palombi back to talk about his new album, Dom Palombi’s Game Night! Vol. 2. There are about twice as many musicians on this album than on Vol. 1, with what Dom describes as more personal track choices than before. The musicianship is just beyond measure, and it’s a fun, adventurous, delightful, funky romp through some great tunes. The three originals are fantastic. ENJOY!

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Greg Murphy is a production sound mixer based out of Melbourne, Florida. He does a lot of work in live news and also projects for Major League Baseball, the NFL, Super Bowl and NASCAR. For news, he uses a Sound Devices 688 mixer/recorder and for smaller jobs, a Sound Devices 633. For wireless, Greg uses Lectrosonics transmitters and receivers. He likes the Sanken COS-11 lavs and also uses dpa 4060 lavs. On the boom, he prefers a Schoeps CMIT 5u and a Sennheiser 416. Greg also uses a Schoeps CMC641 for sit down interviews. Greg likes the Denecke JB-1 time code sync boxes as well as Tentacle Sync. He also likes the Lectrosonics R1a for IFBs and camera hops.

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What goes into creating a great sound effects library? Sound designer, recordists and composer Nathan Moody shares his sonic journey behind the making of his latest sound effects library, MetalMotion – available at asoundeffect.com/metalmotionThe library features 4 hours of moving metal, including everything from impacts and squeals to scrapes, rattles and beyond – and here’s the rarely-told story on what it takes to create such an adventurous, experimental and highly useful sound effects library.

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Recorded live at the 2024 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another all-star panel of Hollywood talent, this time posing the question: Is “No Budget Filmmaking” even possible in this day and age?

“There’s just so much pressure on a film and on a filmmaker that has nothing to do with the film being good, or them arriving at their artistic voice. I’ve worked on zero-dollar budgets, I’ve worked recently on $150 million budgets. And the problems on both ends of the spectrum are exactly the same. Your energy and your attention goes to so many places that have nothing to do with the actual movie, have nothing to do with the art, because of the capitalistic requirements of us, as artists. And if we really care about art and we really care about cinema… We have to change the way we talk about cinema… We want to advance the medium and we want to have a discourse around film that is not just, ‘did you like it? Did you hate it? Did it make money?'”

—Justin Simien, Film & Television Producer, Writer, and Director

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Hans Zimmer is responsible for some of the most iconic film scores of the last 35 years. So how does one person create so much amazing music? It turns out, he doesn’t do it alone. In this episode, Hans Zimmer’s incredible team pulls back the curtain to reveal their extraordinary creative process, and uncover the secrets behind the otherworldly music of Dune. Featuring Raul Vega, Taurees Habib, Suzanne Waters, Tina Guo, and Steve Mazarro.

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