12 Podcasts Worth Hearing: Battlefield 6 Audio, Frankenstein Sound Design, Project Hail Mary Music, & more
By Adriane Kuzminski
Looking for something great to listen to? We’ve found some excellent podcast episodes about sound for you – spanning Oscar-nominated sound design, immersive audio, game audio deep dives, film scoring, production sound, and much more.
This roundup features 12 episodes from podcasts in the Audio Podcast Alliance – tap any podcast below to jump straight to the episode and listen:
These podcasts are all members of the Audio Podcast Alliance.Learn more →
Hear all the episodes below
Twenty Thousand Hertz
He was deaf for 35 years + Listener Stories kickoff
Last year, we ran three full episodes of listener-produced stories. But one beautiful story was just a little too long for the final cut – and we couldn’t leave it behind. In this episode, sound designer Jesse Herrera tells the story of his grandfather, who lived in silence for 35 years before receiving a cochlear implant, and the overwhelming, joyful process of learning to hear again. Afterwards, Dallas and Casey reflect on last year’s Listener Stories and kick off this year’s competition.
The rich soundscape of FRANKENSTEIN with Scott Hitchon
Today’s guest is Scott Hitchon, a freelance DGC sound editor and re-recording mixer working out of Toronto, Canada. Scott has won awards such as a DGC Award for the show Fellow Travelers and a CSA for Best Sound, Non-Fiction for the documentary Once Were Brothers. Most recently working on the BAFTA, MPSE, and Oscar nominated film: Frankenstein. Scott brings stories to life and adds depth and breadth to each production through sound.
Battlefield 6 with Mari Saastamoinen Minto, David Jegutidse and Gonçalo Tavares
In this episode, we met with Senior Audio Director Mari Saastamoinen Minto, Audio Director David Jegutidse and Lead Technical Sound Designer Gonçalo Tavares from DICE to chat about how the latest entry in the series managed to look back at its legacy while also looking ahead as the team pushed new boundaries while creating the audio experience of Battlefield 6. We dive deep into the design and technical aspects of game audio here, exploring how the team decided to tackle everything related to the creation of an immersive soundscape that works well across all its game modes.
Working Across Film, TV, Games, and YouTube with Kevin Senzaki
My guest today is Kevin Senzaki, who is a sound supervisor and sound designer based in Los Angeles. He has an incredibly diverse background starting first as a visual artist but then transitioned into sound during his college days. He got his career started during the early 2010s when he started working with YouTube Creators who would become massive like RocketJump and Corridor Digital.
Get an educated head start on your Oscar Pool this year! Go on a deep dive into each nominated film in the Best Sound Category at this year’s Academy Awards. Featuring interviews with the sound teams behind One Battle After Another, F1: The Movie, Sinners, Sīrat, and Frankenstein.
In 1999, Star Wars and its music were about to change forever. In this introductory episode to the Phantom Menace and prequel trilogy, we discuss how George Lucas and composer John Williams had changed the entertainment industry with their genius, and how their work between trilogies is represented by what we see and hear on screen.
The Music of Project Hail Mary, with Composer Daniel Pemberton
Composer Daniel Pemberton returns to Dolby Creator Talks to discuss his inventive new original score for ‘Project Hail Mary.’ In conversation with guest host Jon Burlingame, Pemberton breaks down how he built a custom musical language for the film using everything from wooden blocks, body percussion, treated vocals, bowls of water, and even a squeaky water tap recorded on his iPhone. He also reflects on balancing the film’s vast sci-fi scale with its intimate emotional core.
Anna Ahnlund talks about her solo albums Lackmuspapper (2018) and Omnejd (2014). You can hear her talk about the band Dina Ögon in Part 1. Music in the episode comes from Lackmuspapper, Omnejd and År, although there’s an excerpt of Dina Ögon’s remake of ‘År’ from the Dina Ögon album Oas.
Johnny Keirle: touring systems engineer specializing in designing and optimizing large-scale sound systems
Johnny Kerile is a touring system engineer and system design consultant specializing in design and optimization of large-scale live sound systems. He is also a L Acoustics application consultant, KSE and Artisan of Sound: representing L Acoustics with design support, calibration, show support, trainings and seminars.
Production Sound Mixers – Adam Fletcher, Simon Hayes, Paul Paragon and Nadine Richardson
Production Sound Mixers Nadine Richardson, Simon Hayes, and Adam Fletcher in conversation with host Paul Paragon about the importance of the production sound mix. We hear about how the off-lines, breaths and capturing the original, authentic performances are key to fabulous sound and so much more! Fascinating insights from some of our top UK PSMs. This AMPS Podcast is sponsored by URSA Straps. Recorded by Richard Thomas AMPS. Edited and mixed by Kate Davis AMPS at Azimuth Post Production.
Juan Ortiz – Production Sound Mixer based out of Philadelphia, Pennsylvania
Juan Ortiz is a production sound mixer and boom op based out of Philadelphia, Pennsylvania. He uses a Sound Devices 833 mixer/recorder and also likes the Audio Limited/Sound Devices A10 wireless transmitters and receivers. On the boom pole, Juan uses the Schoeps CMC 641 and the CMIT 5 as well as the Sennheiser MKH-50 and MKH-416. For wires, he uses DPA lavs and Sanken COS-11s. Juan also likes Tentacle Sync timecode sync boxes including the Timebar Slate. Betso Bowtie antennas also round out the kit.
In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the musician, sound engineer, microphone designer and immersive media producer – Jack Reynolds from London, UK. We discuss Jack’s extensive career in music and spatial audio, the subsequent move to BBC R&D, UCL, and his own company, Reynolds Microphones. We talk about the importance of ambisonics for location sound and immersive documentary production.
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