Asbjoern Andersen


‘Deadliest Catch’ is one of the biggest reality shows on television today, watched by millions of viewers in 150 countries around the world. And today, season 10 premieres on the Discovery Channel.

But just how is the sound done on a show set in the middle of the freezing Bering Sea, with vessels, equipment and crew being battered by brutal winds, ice and 40-foot waves – and where the danger is very real and ever-present?

To find out, I had a talk with Bob Bronow, award-winning sound designer & re-recording mixer on the show since the very first season.
In this exclusive A Sound Effect interview, he shares his favorite sound moments, how he strikes a balance between realism and drama – and, ultimately, how he and the team tell stories with sound.

UPDATE: Bob has been nominated for a 2014 Emmy award for Outstanding Sound Mixing For Nonfiction Programming, for his work on Deadliest Catch

How did you get started doing sound for television – and how did you land the job doing sound on ‘Deadliest Catch’?

Like a lot of folks who work in sound, I started as a musician. My first recording session was at age sixteen. I began mixing live shows when I was 20. After college I produced radio commercials and later went into sound for picture.

I came onboard at Original Productions just after Discovery picked up their show, ‘Monster Garage’ and they needed a mixer. I had worked with the show runner in the past so he gave me a call. Landing ‘Deadliest Catch’ was wonderfully understated. I was walking down the narrow hallway at our little post building in Glendale when the show’s creator, Thom Beers, passed by and asked, “You mixing that crab show?” Knowing that more work is always better than less work I replied, “Sure”.

What’s your role on the sound team, and what’s the workflow typically like on an episode?

After an episode is locked and prepped by the video assist an AAF is made and put on our internal audio server. An audio assist will start going through the elements. As there are no sound mixers on the boats all of the sound is captured via camera mic and lavalier microphones. The first pass is to select the the most usable audio and bleep the considerable amount of profanity. Then, they move on to cutting backgrounds. While that is being done, I go through the show and work on all of the areas that require special sound design.

Unfortunately dialog recorded on a crab boat is usually filled with wind, waves, engine hum, clipping, noise, hydraulics… you get the idea! So I do everything I can to make sure that all of it is as intelligible as I can make it. To this end I always start the mix with a noise-reduction pass. Dialog is the show’s anchor and all of the other elements wrap around that.

My first mix step is a dialog pre-dub. This gives me a second chance to evaluate the dialog and make sure that it meets Discovery’s loudness requirements. Then the music and effects are mixed in to support the elements of the story. The process usually takes three to four days.

How do you source sounds for the show?

On a show like ‘Deadliest Catch’ (where there are no sound mixers) everything is recorded on camera mics and lavaliers whose primary job is to record dialog. There are also a number of deck cameras which don’t record audio at all. When a rogue wave sideswipes a boat or an 800 lb. crab pot crashes to the deck we may or may not have captured the corresponding audio.

I make every attempt to use actual sounds that were recorded on the boats

To convey the enormity of these experiences, it’s important that the audio be built to those images. I make every attempt to use actual sounds that were recorded on the boats.
Over the years, I’ve been lucky enough to have cameramen catch many of these big events. Those recordings are the basis for what I build. I want to use audio to portray the tension and danger of the scene and I want it to be authentic.

I’ve yet to find a library with the sound of an 800lb crab pot launched into an ice-covered Bering Sea.

How much creative freedom do you get in shaping the sound of the show?

This is one of the best parts of my job. I was hired to create the sonic signature of the show and Original Productions lets me do just that.

If there are particular things in an episode that need special attention, a story producer or editor will come to me and we’ll have a discussion about their needs. I’ll then create what they’re looking for to use in their edit.

By the time I’m mixing an episode the producers and editors of that episode are already working on another so they pretty much leave the soundtrack decisions to me. The layback is where they get their first good listen. After the layback we go through notes, I make the fixes and the show is sent out for QC.

How do you strike a balance between realism and drama in the soundscape? Are there any restrictions in how much you can beef up sounds to dramatize things?

I try to keep the soundtrack as authentic as possible. Luckily forty foot waves, hulls crashing through ice and large machinery failures sound huge!

My approach to mixing ‘Deadliest Catch’ has always been to convey the emotion and magnitude of what these people are doing. For me, sound has always been a very emotional thing and I enjoy using it to tell these stories. So I judge the soundtrack by how it makes me feel.

This show has always made me feel a little nervous because the danger is real and it’s always present.

If I’m taken out of the story because an effect is too big, I’ve gone too far. This show has always made me feel a little nervous because the danger is real and it’s always present. My goal is that the viewers feel they’ve experienced what it’s like to be on a crab boat in the middle of the Bering Sea.

The soundtrack shouldn’t draw attention to itself. If I do my job well, the viewer should never know I was there.

Do you have a favorite episode or snippet where you felt the sound worked particularly well?

One of my favorite sound scenes is from the first episode of season 9 (‘Mutiny on the Bering Sea’); Andy Hillstrand (F/V Time Bandit) had gotten his finger crushed while working in the engine room. Blood was building behind his fingernail and the pressure had to be released. With no doctors on board and in the middle of the Bering Sea, deckhand Mike Fourtner volunteered to perform the procedure. Take a sewing needle, heat it with a portable torch until it was red hot and stick it through Andy’s nail. Multiple times.

That would be bad enough in a doctor’s office. But the Time Bandit happened to be in the middle of huge seas so the boat was rolling heavily. That, and the fact that this was all taking place in one of the noisiest parts of the ship (the galley) added to the challenge.

I focused on the sound that the needle would make as it pierced the nail and the sound of the blood being released from behind the nail

The environment outside was creating a difficult environment inside as Mike was attempting to lance Andy’s nail with the needle. I focused on the sound of the waves hitting the Time Bandit’s hull in the boat-to-boat shots. That conveyed the magnitude of the weather on the outside. On the inside, things were creaking and rattling as the boat was tossed around. All the while, Mike is trying to position the needle over Andy’s fingernail. The intensity and pain that Andy was feeling was juxtaposed with the rest of the crew’s laughing at his discomfort. To highlight that, I focused on the sound that the needle would make as it pierced the nail and the sound of the blood being released from behind the nail.

It was a difficult sound to listen to followed by laughing and cheers. Anxiety, pain, release, repeat.
The tension of the scene was finally resolved when Andy says,” He had to hurt me to help me” and Mike mouths to the camera, “Love it!”


Popular on A Sound Effect right now - article continues below:


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  • The Zombie Apocalypse has arrived, and the virus is spreading fast. This comprehensive sound library features 20,000 high quality zombie sounds, making it the most complete zombie sound collection ever released.

    Expert Vocalizations
    In today’s films and video games, zombies have four distinct vocal archetypes. The renowned creature voice talents from The Monster Factory have expertly performed all these vocalizations, covering every genre of zombie imaginable—from the fast-paced, ultra-rabid freshly infected to the slow, hauntingly wailing undead. Our team has been trusted by AAA video game companies for over 15 years, contributing creature vocalizations to games like Star Wars Outlaws, Dead by Daylight, Until Dawn, Hellblade 2, Baldur’s Gate 3, and many more. Their expertise in creating immersive audio nightmares is highly sought-after in the industry.

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    From single stone impacts to large heavy collapsing rocks, avalanches, rockslides sounds, rolling and falling stones, debris sounds….

    Originally recorded at 192 kHz with two Sennheiser MKH8040, a Sanken CO-100K and a Sound devices Mixpre 6. Delivered at 96Khz.

    Each sound file has been carefully named and tagged for easy search in Soundminer and is Universal Category System (UCS) compliant.

    (see the full track list below).

  • This sound library was carefully recorded, processed and crafted to offer a unique toolset for your ice-cold freezing design needs.

    Great for fantasy genre with ice based magic, enchantment and supernatural elements, shining motion graphics, time lapse and flow motion freeze sequences.

    Bonus Aztec death whistle recordings processed by glass and icy textures.

    This Sound Library is a part of the Slava Pogorelsky – Complete Bundle.

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    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.

Latest releases:

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    The recorded scooters include:

    ・KYMCO VJR 110
    ・YAMAHA BW’S 125
    ・YAMAHA BW’S R 125
    ・YAMAHA FORCE 155
    ・YAMAHA Super Four (with a modified exhaust)
    ・YAMAHA VINO 50 (Two-stroke scooter)
    ・YAMAHA VINO 50 FI

    This library includes total 197 files, consisting of 170 mono files and 27 stereo files recorded in ORTF at 96 kHz. Approx. 2 hour and 44 minutes total.

    Certainly, this library was carefully tagged with rich Soundminer metadata, including marks in the recordings highlighting interesting sounds.

    All the recordings were recorded, edited and mastered with love and care.

  • City Life Sound Effects Quiet Streets 3d Play Track 100 sounds included, 580 mins total From: $135 From: $78

    Quiet Streets 3D is the latest chapter in Articulated’s Quiet Streets series, offering a meticulously crafted collection of quiet urban ambiences. Designed with both creativity and precision in mind, this library captures the essence of urban stillness through the advanced Schoeps 3D ORTF recording technique, resulting in multi-dimensional soundscapes that reveal both horizontal and vertical spatial details.

    This library features 100 files delivered at 96kHz/24-bit. With a total size of 74.8 GB and over 9 hours and 40 minutes of carefully curated ambiences, Quiet Streets 3D is a comprehensive resource for creating immersive urban soundscapes.

    A Global Journey Through Quietude

     

    The recordings span cities across three continents, capturing the unique characteristics of urban environments in Paris, London, Los Angeles, Tokyo, Bangkok, Naples, Kuala Lumpur, Montreal, Regensburg, Hong Kong, New Delhi, Strasbourg, Singapore, and more. Each location offers its own subtle yet distinct textures, from the hushed buzz of a late-night street in Bangkok to the subdued murmurs of a Parisian alley at dawn.

    A Commitment to Quality

     
    Over two years, our team travelled to these cities to document quiet moments in urban life. Recordings were made at various times of day and across seasons, capturing the interplay of natural and environmental sounds. The ambiences feature layers of biophony (birdsong, rustling leaves), geophony (wind, distant rain), and faint traces of anthropophony (passing footsteps, distant traffic). Care was taken to minimize intrusive noises, ensuring that these recordings integrate seamlessly into projects that require clarity for dialogue or sound effects. Note: at times some distinctive authentic events were kept in order to give the choice for the editor to use them in their projects. These are tagged as marker on the spectrogram.

    A Versatile Tool for Storytelling

     
    The library’s 8-channel 3D ORTF format provides an intricate sense of space, making it ideal for surround sound configurations in film, video games, and immersive media. For those working in stereo, we’ve included a high-quality downmixed version of every file, offering flexibility without compromising quality.

    Recorded with the acclaimed Schoeps 3d ORTF system, it has a total of 8 discreet channels, 4 on the lower plane arranged in 2 pair of ORTF similar to a IRT-Cross, and doubled with a higher plane of 4 more microphones. The channel layout of the sound recorded and delivered is as this: L R Ls Rs hL hR hLs hRs (whereas h stand for high). Learn more about this configuration here: https://schoeps.de/en/products/surround-3d/ortf-3d/ortf-3d-outdoor-set.html

    Every file is embedded with UCS-compliant metadata, allowing for intuitive searching and streamlined integration into your workflow. The metadata includes detailed descriptors, location names, and environmental characteristics, making it easy to find the perfect ambience for any scene.

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    Whether you need the intimate quiet of a European alley or the expansive stillness of an Asian metropolis, Quiet Streets 3D provides a rich palette of urban soundscapes. This library is not just a collection of audio files—it’s a carefully curated journey through the subtleties of urban life, designed to enhance the emotional depth and spatial realism of your projects.

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Need specific sound effects? Try a search below:


Danger lurks on land too, as seen in this close encounter between Bob and Captain Keith from the show

Danger lurks on land too, as seen in this close encounter between Bob and Captain Keith from the show

Are there any fun moments that stand out doing the sound on ‘Deadliest Catch?’

Fun moments? Pretty much any time you get the captains together there are fun moments. Unfortunately, I can’t repeat any of them! Season 9 was the first season that we had cameramen shooting the boats from the bottom of Dutch Harbor. Given that there was no usable production sound, I had the opportunity to design those sounds.

You’ve worked as a sound designer for 20 years. What trends are you noticing in television sound?

I think that many television soundtracks are moving closer to the depth of theatrical soundtracks. It’s not uncommon for a large action show to have hundreds of tracks of effects delivered to the stage.

An episode of Deadliest Catch will have anywhere from 60 to 80 tracks.

There have been amazing advances in recording and processing software.
Mixers today have access to noise reduction technology that fifteen years ago would have been indistinguishable from magic. I can only imagine the things we’ll be able to do in five years!

Can you share anything about projects you’re currently working on?

I mixed a film in 2008 called The Wrecking Crew. It tells the story of an elite group of studio session musicians in Los Angeles in the 1960’s who played on hits for the Beach Boys, Frank Sinatra, Nancy Sinatra, Sonny and Cher, Jan & Dean, The Monkees, Gary Lewis and the Playboys, Mamas and Papas, 5th Dimension, Tijuana Brass, Ricky Nelson, Elvis Presley, Johnny Rivers and Phil Spector’s Wall of Sound just to name a few! (that description came from the Wrecking Crew website)

While the film was very successful on the festival circuit it was never released due to the amount of money needed to pay the musicians and writers for the use of their music. The money was recently raised and I was able to do a full theatrical mix on this incredible story.

 

Please share this:


 

A huge thanks to Bob Bronow for doing this interview!
About Bob Bronow
Bob has been working as a re-recording mixer and sound designer for 20 years, doing sound on shows like Deadliest Catch, Ax Men, Bering Sea Gold: Under the Ice, The Colony, 1000 Ways to Die, American Masters: Carol Burnette & Bob Newhart and the feature documentary The Wrecking Crew. He’s also been nominated for 8 Primetime Emmy’s – with two wins – in addition to 4 CAS award wins for his work on Deadliest Catch. Find out more about Bob and his work here.

 

 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • The ROCKS Library is a collection of more than 700 designed rock and stone sound effects, ready to use.
    From single stone impacts to large heavy collapsing rocks, avalanches, rockslides sounds, rolling and falling stones, debris sounds….

    Originally recorded at 192 kHz with two Sennheiser MKH8040, a Sanken CO-100K and a Sound devices Mixpre 6. Delivered at 96Khz.

    Each sound file has been carefully named and tagged for easy search in Soundminer and is Universal Category System (UCS) compliant.

    (see the full track list below).

  • This sound library was carefully recorded, processed and crafted to offer a unique toolset for your ice-cold freezing design needs.

    Great for fantasy genre with ice based magic, enchantment and supernatural elements, shining motion graphics, time lapse and flow motion freeze sequences.

    Bonus Aztec death whistle recordings processed by glass and icy textures.

    This Sound Library is a part of the Slava Pogorelsky – Complete Bundle.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”

    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

  • Rock / Stone Sound Effects Rocks Momentum Play Track 1100+ sounds included $37

    The Rocks Momentum sound effects library gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland. Defective construction materials were used for the recording of bricks, roofing tiles, cement blocks etc.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Motorcycle Sound Effects Scooters Play Track 197+ sounds included, 164 mins total $99

    SCOOTERS features various sound effects recorded from 7 different scooters, ranging from general scooters to a scooter with a modified exhaust. An old two-stroke scooter with high-pitched brake squealing sounds is also included, along with on-board riding sounds (including revving and speeding), pass-bys, idling, approaching, pull-away, engine cranking, and varied mechanism sounds. SCOOTERS sound library helps you create different types of scenes with scooter riding.

    The recorded scooters include:

    ・KYMCO VJR 110
    ・YAMAHA BW’S 125
    ・YAMAHA BW’S R 125
    ・YAMAHA FORCE 155
    ・YAMAHA Super Four (with a modified exhaust)
    ・YAMAHA VINO 50 (Two-stroke scooter)
    ・YAMAHA VINO 50 FI

    This library includes total 197 files, consisting of 170 mono files and 27 stereo files recorded in ORTF at 96 kHz. Approx. 2 hour and 44 minutes total.

    Certainly, this library was carefully tagged with rich Soundminer metadata, including marks in the recordings highlighting interesting sounds.

    All the recordings were recorded, edited and mastered with love and care.

  • City Life Sound Effects Quiet Streets 3d Play Track 100 sounds included, 580 mins total From: $135 From: $78

    Quiet Streets 3D is the latest chapter in Articulated’s Quiet Streets series, offering a meticulously crafted collection of quiet urban ambiences. Designed with both creativity and precision in mind, this library captures the essence of urban stillness through the advanced Schoeps 3D ORTF recording technique, resulting in multi-dimensional soundscapes that reveal both horizontal and vertical spatial details.

    This library features 100 files delivered at 96kHz/24-bit. With a total size of 74.8 GB and over 9 hours and 40 minutes of carefully curated ambiences, Quiet Streets 3D is a comprehensive resource for creating immersive urban soundscapes.

    A Global Journey Through Quietude

     

    The recordings span cities across three continents, capturing the unique characteristics of urban environments in Paris, London, Los Angeles, Tokyo, Bangkok, Naples, Kuala Lumpur, Montreal, Regensburg, Hong Kong, New Delhi, Strasbourg, Singapore, and more. Each location offers its own subtle yet distinct textures, from the hushed buzz of a late-night street in Bangkok to the subdued murmurs of a Parisian alley at dawn.

    A Commitment to Quality

     
    Over two years, our team travelled to these cities to document quiet moments in urban life. Recordings were made at various times of day and across seasons, capturing the interplay of natural and environmental sounds. The ambiences feature layers of biophony (birdsong, rustling leaves), geophony (wind, distant rain), and faint traces of anthropophony (passing footsteps, distant traffic). Care was taken to minimize intrusive noises, ensuring that these recordings integrate seamlessly into projects that require clarity for dialogue or sound effects. Note: at times some distinctive authentic events were kept in order to give the choice for the editor to use them in their projects. These are tagged as marker on the spectrogram.

    A Versatile Tool for Storytelling

     
    The library’s 8-channel 3D ORTF format provides an intricate sense of space, making it ideal for surround sound configurations in film, video games, and immersive media. For those working in stereo, we’ve included a high-quality downmixed version of every file, offering flexibility without compromising quality.

    Recorded with the acclaimed Schoeps 3d ORTF system, it has a total of 8 discreet channels, 4 on the lower plane arranged in 2 pair of ORTF similar to a IRT-Cross, and doubled with a higher plane of 4 more microphones. The channel layout of the sound recorded and delivered is as this: L R Ls Rs hL hR hLs hRs (whereas h stand for high). Learn more about this configuration here: https://schoeps.de/en/products/surround-3d/ortf-3d/ortf-3d-outdoor-set.html

    Every file is embedded with UCS-compliant metadata, allowing for intuitive searching and streamlined integration into your workflow. The metadata includes detailed descriptors, location names, and environmental characteristics, making it easy to find the perfect ambience for any scene.

    A Timeless Collection for Any Project

     
    Whether you need the intimate quiet of a European alley or the expansive stillness of an Asian metropolis, Quiet Streets 3D provides a rich palette of urban soundscapes. This library is not just a collection of audio files—it’s a carefully curated journey through the subtleties of urban life, designed to enhance the emotional depth and spatial realism of your projects.

    With Quiet Streets 3D, you’re investing in a resource that will remain relevant across countless future projects.

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  • Electricity Sound Effects Massive Thunder Play Track 616 sounds included, 217 mins total $29.99

    MASSIVE THUNDER – 616 files of Thunder sound effects, at varying distances and intensities. From low and slow rolling distant rumbles to violently fast and bombastic direct cracking impacts. Massive Thunder comes in at over 3 hours and 37 minutes of short and long scenes of thunder and lightning for every occasion. Recorded during several storm seasons and dozens of independent thunderstorms, with indoors and outdoors perspectives. Massive Thunder’s filenames are in the Universal Category System format with additional Metadata baked-in.

    Don’t need a Massive amount of Thunder and Lightning sound effects? We offer ‘Mini’ sound effect libraries as companions for all of our ‘Massive’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

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    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1, FEL Clippy XLR EM272 and JrF C-Series Pro+ microphones, Sound Devices MixPre-6 II recorder. The library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.


   

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