Category Archives: Sound Design


Here is a short film by called Erase that I did set and post sound for:

Written, Directed and Acted by the talented Gianluigi Carelli



born audio update

Its been awhile since I last updated my WordPress. I find I’ve been posting more with my Twitter account and Facebook lately. I haven’t been slowing down at all though, as I just finished teaching my 13-week Sound Design class at UNB and facilitating an independent sound design study for a 4th-year Multimedia student. Also, I just finished working as Foley Editor on an independent feature film called Do Something With Your Life

I had a new logo created for my freelance sound design work:

born audio

Contact me at if you want to discuss anything on my Blog, or connect about future projects.


The Bounty Hunter Sound Design

I really like Cliff Rowe’s animation style in this VFS animation reel. I stripped out all the original sound from the reel and recreated all the sounds from scratch. I did all Music, Sound Design and was the Foley performer. I challenged myself to do everything in 4-days. The Foley Recordist is Maluz:

*Credits Note : Because I was not part of the original project, you will still see Sound Design credits associated with the previous designers.

Having a Reference in Sound Design

Sound Design with Jesse Barden


I heard some great advice at VFS from Animator Aaron Gilman:, who works at Weta Digital in New Zealand. He noted that when an Animator would be applying for a job with him, he would always ask the same interview questions: “What is the Inspiration for your work? And what is your Reference?” He explained that if the response from the Animator is: “It just comes from my imagination.”, they would rarely ever be hired. His team was always looking for a “Reference” the candidate had studied and used for inspiration. He would ask: Do you study a particular style of Animation? CGI? Stop-Motion? From what countries? And WHO in particular? He mentioned “Reference” is incredibly important as a point of discussion and idea generation among Animators.

I think “Reference” is a great idea to apply to Sound Design work. In order to start understanding what makes sound work with visual information in Film/TV/Animation, you need to listen to what specific sound designers have done in the past, so that you have your own “References” for idea generation and discussion. It is a great way to start picking patterns that reference specific Genres of Film Sound, and help you understand how other sound designers advance narrative and build tension. Pick some of your favorite films and find out the names of the Sound Designers involved. Start studying their work and find out what types of sounds they consistently use. You might start hearing a technique that can get you moving in new directions and help you ace the “Reference” question.

– John

Frequency Range Variations for SFX

ProTools HD-Control 24s

Mixing my SFX session on ProTools HD-Control 24s, in the 5.1 Surround Sound Lab.

One of the techniques I’ve learned from Sound Designer, Steve Smith, is to give multiple frequency ranges for SFX. I.E., when assembling the sounds for an impact of a body fall, always be sure to have a Low, Med, and High-end sound effect option on separate tracks, and mixed together as one sound. Not only does having a wider range of frequencies give fullness to a sound effect, it allows the mixer options if they have competing frequencies in the Music, Foley, SPFX, etc.

I.E., if the music has a low-end drum part at the same time as your low-end body fall, you’re likely to see your SFX cut, because of a doubling of Low-end frequencies that will end up clouding the final mix. If you give frequency rich Low,Med, and High-end sounds on multiple tracks, you give the Mixer variety to use the Med and High-end part of your Impact, which will give you a greater chance of hearing your SFX in the final mix.