What kind of sound can a single sheet of steel produce? While working as a co-sound designer on an upcoming indie horror game set aboard a cursed submarine, I’ve been experimenting with ambiguous ambience layers that blur the line between diegetic and non-diegetic sound. This recording started as the natural resonance of a large sheet of steel, played with some Mike Balter ERSR Super Rub mallets and captured using a pair of LOM BasicUcho mics and a LOM Geofon contact mic. At first it feels like it could belong to the physical space of the submarine itself (creaking metal, vibrating hull) but as the resonance develops it begins to take on a tonal, almost musical quality. That shift from environmental sound into something that feels closer to a score is something I’ve been exploring to help shape the atmosphere of a submarine setting affected by a curse and strange mutations. I’m always interested in how others approach designing sounds that sit somewhere between environment and music. #GameAudio #SoundDesign #FieldRecording #IndieGameDev

"The Incredible Chameleon" tests the boundaries of color and texture, pushing AI creation to the next level! Massive shout out to the creator, Ran Aviv, for this awesome video featured in our recent newsletter: https://lnkd.in/d6C_Qhzz #VEO #NanoBanana #AIVideo #AIEditing #AICreator #ContentCreation #AIforMarketers

As a collaboration with Cymatics, I created a demo to showcase their plugin called Dreamscape. Along many effects, my favourite part is exploring the atmospheric sounds Dreamscape can create with vocals and instruments 💫 In this video, the demonstration focuses on the vocals but even the instruments are carrying atmospheric effects here. I just love this dreamy sound, as creating ethereal atmosphere is key to my music. This project did not feel like work at all. I was shocked when I started exploring and knew that this is just the beginning of creating many ethereal tracks with this one 🥹 #cymatics #composer #cinematicmusic #filmmusic #soundtrackvocal #vocalist #musicproduction #collaboration

Look at the attached visual: a system on the verge of digital collapse, or "cyber-psychosis." As audio professionals, producers, and sound designers in GameDev and Cinema, you know that sound isn't just background noise—it is the architecture of emotion and focus. Phase 29: Cyber-Psychosis is our masterclass in functional, heavy audio design. Engineered with ultra-low resonance and crushing cinematic midtempo, this track explores the practical limits of Neural Resonance Theory, demonstrating how physical structures in the brain and nervous system physically synchronize with complex musical rhythms. Whether you are designing procedural audio systems with MetaSounds in Unreal Engine 5 or mixing the soundscape for a dystopian sci-fi thriller, this is how you build mechanical weight and tension into your environment. Don't just make your audience listen. Make them feel the pressure. Listen to the release here: https://lnkd.in/dKQgeYhc #SoundDesign #GameAudio #UE5 #MusicProduction #CinematicAudio #IndustrialBass #AudioEngineering

Great television themes don’t begin with software. They begin with story, character, and musical identity. Here’s my 50-second main title theme inspired by the series Tracker. I composed the theme note-for-note, performed the lead on Fender Stratocaster, with Ryan on acoustic guitar rhythm driving the pulse and tension behind the cue. Then came the second step. Mark Keefner used AI-assisted mixing and mastering to polish the final sound. The result reflects a philosophy we strongly believe in: Craft first. Technology second. AI didn’t write the theme. AI didn’t perform the guitars. AI simply helped bring the sonic clarity forward once the music was already there. Watch the performance and hear how composition and modern tools can work together. If you're a filmmaker exploring how music shapes story visit: https://lnkd.in/gSTgWCR (818) 261-9530 info@christophercaliendo.com Visit the Filmmaker Tips Blog Let’s collaborate and bring cinematic stories to life through music. #FilmComposer #TVMusic #FilmScore #ComposerLife #FilmDirectors #TVScoring #MusicForFilm #GuitarComposer #AIinMusic #CreativeProcess #ChristopherCaliendo

This is an initial R&D proof of concept of a collaboration between Pell Ensemble, handmadesound, and Thunkist - a spatial-sound, 360° film dance work that confronts the brutal industrial history of Magnitogorsk, echoing the human cost of labour through bodies, movement, and sound. The music is motion-activated. Using smartwatches on each of her wrists, Rebecca triggers the sounds in the piece and moves them around the surround sound space. For the actual performance of this piece, John will play woodwinds live, also manipulated by movement from a watch on his wrist. To give an idea of the surround sound, the audio is binaural, so best listened to with headphones. You can find a longer length normal version of this video here: https://lnkd.in/eyJsiWnw And there is also a fully immersive 360 version of that video (works best in the YouTube app on your phone) here: https://lnkd.in/epY6vPUH Movement choreographed and performed by Rebecca Evans - Pell Ensemble Music written and performed by John Biddulph - handmadesound @flowfal and spatial audio production by Simon East - Thunkist Thanks to Tom Bromley at Burnt Orchid for the use of his amazing workshop as the filming location #contemporarydance #experimentalmusic #spatialaudio #woodwind #flowfal #wearabletech #movement #abletonlive #envelop4live

Can you "un-grade" a finished music video? 💿🎵🎵 I challenged myself to reverse-engineer the grade on Justin Bieber’s "Baby," pulling a heavily crushed render back to a flat, D-Log profile. I'm inspired by the he moody, breathable textures of A24’s Euphoria—balancing deep shadows without losing detail. The Challenge: The original grade has extremely "crushed" blacks and a heavy film look that makes shadow recovery difficult without introducing digital noise or "breaking" the image. Because the practical lighting in the scene was originally quite dim, balancing the contrast while maintaining a clean image was the biggest hurdle. The Solution: By elevating the shadow floor and dialing back the film look key output, I recovered hidden textures in the clothing and background for a more atmospheric, cinematic depth. Node tree breakdown coming soon! 🚀

Ø is a Max for Live synthesizer with an integrated sequencer, The striking artwork by Danish artist and musician øjeRum immediately suggests that this is more than a conventional musical tool. Ø is a conceptual instrument — a space to get lost in, and perhaps to find yourself again. It is not strictly a random sequencer, but rather a labyrinth. A system where sound unfolds unpredictably, like the trees in the artwork, or like two lovers whose paths never truly meet. Your sound drifts, transforms, and disappears —impossible to recall in the same way again. Ø offers a range of waveforms, filtering, delay, controlled randomness, sequencer direction, and time-scanning parameters. It invites exploration, but also asks a question: are you ready to lose control? Included in the download is also Ø Sequencer, a companion device built on the same underlying concept, designed to generate MIDI data. This allows you to use any sound source you wish, while also making it possible to capture and preserve your improvisations directly in the MIDI editor. https://lnkd.in/dv94Q5Pu

This is a concept I hadn't thought about quite this way before. Adrian's idea is that every song already has the right acoustic environment built into it. The story it's telling, the instrumentation, the lyrics. All of it points toward a specific kind of space and reverb that will either serve the music or fight it. The job of immersive audio, done right, is to find that space and put the listener inside it. That's a completely different way of thinking about it than most engineers approach. Full breakdown here: https://lnkd.in/gRdAArpG

The Sonic Alchemy: Where Tradition Meets Techno ‏In the modern landscape of sound design, we are witnessing a powerful shift. It is no longer just about creating a beat; it is about creating an emotional and physical resonance. My recent work focuses on the intersection of Ethnic Deep House, Dark Atmospheric Techno, and the healing frequency of 432Hz. Why 432Hz? Most modern music is tuned to 440Hz, but 432Hz is known as the "Natural Frequency." In my productions, I use this tuning to ensure that even the most intense Deep Analog Bass remains grounded and harmonious with the human spirit. This frequency serves as the foundation for a more profound listener connection, especially in Cinematic Soundscapes. The Cinematic Blend: From Ney Flute to Neon Smoke The core of my signature style—Alchimstemixer—is the juxtaposition of ancient and futuristic elements: The Haunting Ney Flute: A solo instrument that brings a human, soulful vulnerability to the track. • Mystical Vocals & Ethereal Chants: Using wordless "Ahs" to create a sense of vast, timeless space. • Hypnotic Tribal Percussion: Driving the energy forward with a primal, rhythmic pulse. • Dark Atmospheric Techno: Providing the industrial, cinematic weight required for modern visual storytelling. Implementation in Film and Media This style is specifically engineered for high-end Cinematic Production. Whether it’s a high-stakes thriller or a mystical desert odyssey, the combination of Ethnic Deep House and 432Hz tuning provides a unique psychological impact. It offers directors a sonic palette that is both exotic and cutting-edge, perfect for immersive "World-Building" in cinema. Conclusion Music production is evolving into a form of sonic alchemy. By blending the organic soul of ethnic instruments with the raw power of techno—all tuned to the harmony of 432Hz—we are opening new doors for how audiences experience sound in film and digital media. ‏#Alchimstemixer #MusicProduction #SoundDesign #432Hz #CinematicSound #DeepHouse #TechnoMusic #EthnicHouse #SoundAlchemy #FilmScoring #AudioEngineering #CyberpunkVibes #NeyFlute #MusicInnovation #LinkedInArtists