How do you turn sound design feedback into creative fuel? Sound Design Supervisor Stephen Schappler gives you 9 valuable insights into that below, based on his experience and lessons learned from more than 15 years in game audio:
In the fast-paced world of game development, the difference between good sound design and great sound design often comes down to the quality of feedback exchanged between team members.
After years of supervising sound designers, Iโve learned that how we communicate about creative work can either unlock extraordinary potential or inadvertently stifle innovation and enthusiasm
After years of supervising sound designers, Iโve learned that how we communicate about creative work can either unlock extraordinary potential or inadvertently stifle innovation and enthusiasm.
 After trials, errors, and countless feedback sessions, Iโve developed approaches that consistently yield better results. Here are nine practical techniques that can transform how you give feedback to your team, and ultimately elevate everyoneโs work:
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Start with Context, Not Criticism
โWhat were you aiming for with this piece?โ
โWhich elements do you feel are working, and which arenโt?โ
โHow does this specific game mechanic work?โ
โWhat kind of feedback would be most helpful right now?โ
These questions do more than clarify expectations; they transform the conversation from a one-sided critique into a collaborative exploration. They signal respect for the designerโs creative vision and acknowledge that they might already be aware of certain issues.
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Match Your Method to the Maker
Understanding each team memberโs preferred communication style isnโt just about making feedback more palatableโitโs about making it more effective.
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Describe Effects, Not Techniques
Perhaps the most transformative shift in my feedback approach has been moving from prescriptive instructions to descriptive guidance
This approach accomplishes two critical things: it preserves the creative agency of the sound designer, and it keeps the focus on the emotional impact rather than technical minutiae.
 It invites the designer to draw on their expertise to solve the problem, often yielding solutions more innovative than what I might have prescribed.
That said, experience level matters here. With junior sound designers who are still building their technical toolkit, I make a point to add: โIf youโre not sure how to achieve this effect, Iโm happy to walk you through some specific techniques.โ This creates a safe space for learning without assuming everyone has the same technical foundation. Iโve found that explicitly offering technical guidanceโwithout forcing itโhelps junior team members grow while still giving them room to experiment and develop their own creative problem-solving skills.
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Practice Brevity and Focus
When I first started giving feedback, Iโd try to address everything at once. I quickly learned that overwhelming someone with a laundry list of tweaks often results in none of them being addressed effectively
Now I prioritize ruthlessly. If a piece needs substantial work, I focus on the 2-3 most critical issues that will have the greatest impact. When those are resolved, we can address more nuanced concerns in the next iteration.
Just as in sound design itselfโwhere knowing what to leave out is as important as what to includeโeffective feedback requires thoughtful curation.
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Separate the Work from the Person
By focusing critique on the work rather than the person who created it, we create psychological safety that encourages risk-taking and experimentation. This isnโt just about being niceโitโs about creating an environment where innovation can flourish without fear of personal judgment.
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Make Every Conversation Two-Way
โWhat were the challenges you encountered with this design?โ
โWhat alternatives did you try before landing on this approach?โ
โHow do you feel about trying a different direction here?โ
These questions often reveal constraints or considerations I wasnโt aware of, leading to more informed decisions and better outcomes.
Close the Loop
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Beware the Feedback Sandwich
When designers sense youโre softening criticism with obligatory compliments, it can undermine the authenticity of both your praise and your critique
When designers sense youโre softening criticism with obligatory compliments, it can undermine the authenticity of both your praise and your critique.
 Instead, I try to be genuine in acknowledging strengths while being clear and direct about what needs improvement.
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Consider the Timeline
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In Conclusion: Feedback as Creative Fuel
The goal isnโt perfection in a single iteration, but rather creating a collaborative environment where each conversation brings us closer to something extraordinary. In game development, where player experience is shaped by countless small decisions, this approach to feedback doesnโt just make for better soundโit makes for better games.
About Stephen Schappler:
 Stephen Schappler is an award-winning Sound Designer who has worked on acclaimed AAA titles including God of War: Ragnarรถk and the Mortal Kombat franchise.
Stephen Schappler is an award-winning Sound Designer who has worked on acclaimed AAA titles including God of War: Ragnarรถk and the Mortal Kombat franchise. He is currently a Sound Design Supervisor at PlayStation Studios, where he creates industry-leading sonic experiences. With over 15 years of experience, he remains passionate about innovation, advancing the craft, and inspiring others through positive leadership in a supportive, encouraging atmosphere. Check out his blog here.
