Star Wars Outlaws: Defining the Sound of a ‘Scoundrel Adventure’ – with the Massive Entertainment Game Audio Team
The Star Wars Outlaws sound team at Massive Entertainment took sonic inspiration from the original Star Wars Trilogy films, embuing the sound of Outlaws with a ‘tape flavor,’ choosing ‘warmth over precision’ and ‘analog over digital.’
Here, they talk about honoring that ’70s aesthetic while also creating a ‘scoundrel adventure’ inspired by Rogue One: A Star Wars Story and Solo: A Star Wars Story. They talk about their creative and technical approach to creating an immersive and reactive world, capturing fresh sounds on field recording trips to Australia, Tasmania, and locations around Sweden, using slapback, bubblespace, and spatial seeds system in the Snowdrop engine, and much, much more!
Shaping the Sound of Star Wars – an AirCon interview with Emmy, MPSE, & CAS award-winning Sound Supervisor Bonnie Wild
In this exclusive AirCon interview, Jennifer Walden speaks with Emmy, MPSE, and CAS Award-winning supervising sound editor/sound designer/re-recording mixer Bonnie Wild:
Achieving Awesome Sound for ‘Ahsoka’ – with Matt Wood and Bonnie Wild:
Skywalker Sound supervising sound editors Matthew Wood and Bonnie Wild discuss the details of their sound work on the Disney+ series Ahsoka, S1:E4 ‘Fallen Jedi,’. Here, Wood and Wild talk about designing sound of the star map dome, how they handled the droid vocal processing, what went into the sound of Shin’s force choke ability, and more!
The Iconic Sounds of Star Wars – legendary sound designer Ben Burtt in conversation with Adam Savage
While in the original THX theater — where Return of the Jedi was mixed! — Adam Savage sits down with Academy Award-winning sound designer, film director, editor, screenwriter and voice actor Ben Burtt, the man behind the iconic sounds you know and love from the Star Wars franchise, from R2D2’s beeps and boops to Chewbacca’s rrrruuurrr to Darth Vader’s heavy breathing. What’s YOUR favorite Star Wars sound?
Crafting the Gritty Sound of Star Wars: Visions “The Pit” – with David W. Collins and LeAndre Thomas
Each episode of Disney+ animated series Star Wars: Visions is unique – created by different teams with stories inspired by the Star Wars universe. Here, supervising sound editor/sound designer David W. Collins at Skywalker Sound and writer/director LeAndre Thomas at Lucasfilm talk about their MPSE Award-nominated sound on S2: E8 ‘The Pit,’ which tells the story of oppressed kyber crystal miners abandoned by the Empire. They discuss using sound to help fill in details in animation, creating creature vocals, using legacy sounds to tie this individual story to the larger Star Wars universe, and so much more!
Deep Dive Into the Thrilling Sound of ‘Star Wars Jedi: Survivor’
Star Wars Jedi: Survivor – developed by Respawn Entertainment and published by Electronic Arts – is the highly anticipated sequel to Star Wars Jedi: Fallen Order (2019 – here’s the sound story behind that game), and picks up five years later with young Jedi Knight Cal Kestis continuing the fight against the Galactic Empire.
Here, the sound team (led by Audio Director Nick von Kaenel at Respawn Entertainment) talks about how they built upon the foundation of Fallen Order while still creating something fun and fresh for Star Wars games fans. They talk about designing bolder sound for the different colored lightsabers, creating franchise-fitting new sounds for foes, world-building for unique environments, building systems for breaths, foliage, ships, combat, debris, and Force abilities, using blueprints in UE4 to add audio to game logic, working with Wwise middleware for spatial audio, and so much more!
Much more on the superb sound of Star Wars
– hand-picked stories and interviews:
The sound of Andor
Behind the sound of Obi-Wan Kenobi – told by Bonnie Wild & Matthew Wood
Creating the score for Obi-Wan Kenobi, with composer Natalie Holt
Behind the Sonic Magic at Skywalker Sound
The Sound Of The Mandalorian – with Bonnie Wild
How The Mandalorian Score Found The New Star Wars Sound
Behind the sound for Return of the Jedi – with Ben Burtt
Rare footage: Behind the sound of The Empire Strikes Back
Twenty Thousand Hertz special – the sound of Star Wars
ABC’s fantastic Force of Sound documentary
The Rise of Skywalker audio interviews
Shaping the satisfying sound of Star Wars Jedi: Fallen Order
Go behind the sound of Rogue One
John Williams on creating the score for Rise of Skywalker
Behind the Audio of the Heroes of Star Wars Battlefront II
More great Star Wars reads
Shaping the Sound of Star Wars – an AirCon interview with Emmy, MPSE, & CAS award-winning Sound Supervisor Bonnie Wild
Crafting the Gritty Sound of Star Wars: Visions “The Pit” – with David W. Collins and LeAndre Thomas
Deep Dive Into the Thrilling Sound of Star Wars Jedi: Survivor
Achieving Awesome Sound for ‘Ahsoka’ – with Matt Wood and Bonnie Wild
The sound of Andor:
The Andor series will explore a new perspective from the Star Wars galaxy, focusing on Cassian Andor’s journey to discover the difference he can make. The series brings forward the tale of the burgeoning rebellion against the Empire and how people and planets became involved. It’s an era filled with danger, deception, and intrigue where Cassian will embark on the path that is destined to turn him into a rebel hero.
Watch the video here:
Behind the sound of Obi-Wan Kenobi – told by Bonnie Wild & Matt Wood:
Here’s how ‘Obi-Wan Kenobi’ blended Hayden Christensen & James Earl Jones to make Darth Vader:
Creating the score for Obi-Wan Kenobi, with composer Natalie Holt:
So thrilled to be welcoming Natalie Holt back to Soundtracking – a composer who’s doing great things, most recently in providing the score for Obi-Wan Kenobi on Disney +.
Here she tells Edith about adding to the legendary musical landscape of the franchise, and meeting the man who’s behind much of it, her idol John Williams.
In this great interview by the Dolby Institute and the Soundworks Collection, Bonnie Wild – sound effects editor and re-recording mixer of Disney+’s hit show The Mandalorian – takes us behind the scenes for a conversation about achieving cinematic scale and production value on a television budget, balancing the palette of new sound creation with classic Star Wars sounds we all know and love, why mixing in a home theater environment was important for the show, and how to do a Jawa loop group session:
In this Soundworks Collection interview, supervising sound editors Matthew Wood and David Acord delve into the conceptual and sonic intricacies of evolving “force lightning,” and about working in stages from temp mixes to the final mix in a film with a legacy. They share experiences working playfully and dynamically with director J.J. Abrams, recording lines in actor Adam Driver’s closet, and working on previous Star Wars films.
Matthew Wood and David Acord, co-sound supervisors on Star Wars: The Rise of Skywalker, have been working on the sound of the SW films for nearly two decades. Join us for a wide-ranging conversation on the audio restorations of the original films, the voice of Baby Yoda from The Mandalorian, the importance of sound to George Lucas… and even the controversy about whether Han or Greedo shot first and the notorious “Maclunkey.”
(via @Soundworks)
Watch the video here:
Entering into the realm of Star Wars entertainment takes courage. Fans are notoriously exacting, scrutinizing every aspect of the project. But that high standard sets this IP apart. Respawn Entertainment nailed their first Star Wars title: Star Wars Jedi: Fallen Order, which has garnered acclaim from critics and gamers alike. Their sound team — led by Audio Director Nick Laviers — shares an in-depth look at how they designed this game’s stellar sound:
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Pipe Noise & Flow is a sound effects library built around the hidden voices of pipe systems, large and small. Captured over several years across industrial plants, residential buildings, factories, sewers, underground tunnels, caves and public infrastructure, this collection brings together a wide range of sonically rich material.
You’ll hear water, gas, and air moving through pipes made of metal steel, copper, aluminium, plastic, glass, concrete, and stone. There are massive flows and subtle trickles, bursts of pressure, hollow resonances, eerie whistles, and the strange tonalities that emerge when systems crack, leak, or fail. Many recordings feature broken or deteriorating pipes, full of texture and unpredictability. While there is plenty of industrial and subterranean grit, you’ll also find more subtle sources like kitchen sinks, bathroom plumbing, and everyday interior systems; sounds that can lend realism or eeriness to intimate scenes.
This library is designed to be flexible and inspiring. Use it to create detailed ambiences for sci-fi, horror, and post-apocalyptic settings, to build layered mechanical textures for machines and user interfaces, or to design unique elements for hybrid weapons, alien devices, strange creatures or abandoned environments. Whether you need the realism of urban infrastructure or the surreal qualities of a forgotten machine, Pipe Noise & Flow offers an unexpected toolkit full of possibility.
What’s inside:
- Flowing water, rushing air, and gas movement through pipes
- Large industrial pipes, small tubing, and flexible hoses
- Pipes made of metal, iron, copper, aluminium, plastic, glass, concrete, and stone
- Broken, leaky, and deteriorating pipes with rich textures
- Interior plumbing: kitchen sinks, bathroom drains, home radiators
- High-pressure bursts, trickles, drips, and hissing valves
- Tonal and pitched pipe resonances, drones, and hums
- Mechanical rattles, clangs, gurgles, and thumps
- Subterranean ambiences and underground utility spaces
- Studio performances exploring controlled flow and resonance
- Eerie whistles and howling vents for otherworldly design
- Abstract textures and tonalities ideal for creature sound design
- Inspiring source material for sci-fi, horror, fantasy, and surreal soundscapes
- Useful elements for user interface design, machine textures, and hybrid weapons
- Ready-to-layer assets for creating atmospheres, backgrounds, and special effects
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Footsteps Sound Effects MachinEra: Robotic Movements Play Track 166 sounds included, 3 mins total $54A dynamic collection of robotic sound effects capturing the essence of synthetic motion—from heavy mech footsteps to agile servo twitches. Organized into Robot_Big and Robot_Small, this pack delivers detailed mechanical gestures that give life and character to any robot—ideal for film, games, animation, and futuristic sound design. Bring your bots to life with authentic movement, precision, and personality.
🤖 What’s Inside?
✔️ Robot_Big: Heavy robotic footsteps, mechanical stomps, structural clanks, and full-motion sequences for large-scale machines.
✔️ Robot_Small: Servo-driven motions, nimble joint movements, mechanical twitches, and intricate robotic details.Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.
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A high-octane collection of sci-fi engine sounds designed to power futuristic vehicles, starships, drones, and advanced machinery. With layered boosts, charged accelerations, and energetic propulsion, this pack delivers cinematic engine sounds with punch and scale—perfect for games, trailers, film, and sci-fi storytelling. Give your machines the roar of tomorrow.
🚀 What’s Inside?
✔️ Engine Boosts: Aggressive power surges, acceleration bursts, energy charges, and propulsion blasts.
✔️ Sci-Fi Motions: High-velocity thrusts, futuristic drives, and stylized engine pulses.Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.
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