I highly recommend recording your kids! For me, it only really happens if I make it very easy, so instead of bringing out the big rig I just keep a small mic ready in the living room to capture little moments.

These might just become special memories for ourselves, or he might end up in games like his brother (currently featured as alien, monster, machine gun and squishable mushroom creature)

Last Monday we had a very special new arrival!

I felt obliged to start recording him early on, as I did with his big brother, so here are some sounds from his first few hours, and a couple of days later.

Weow! We're back with more cat! 😻 @snarkism.bsky.social takes us through the different parts of her cat meow patch
#phaseplant #cat #gameaudio

The Sound Design of Ghost of Yōtei: Character Foley When given a chance to talk about our Foley system in Ghost of Yōtei, you will undoubtedly hear me gush and rave incessantly and claim it's the first time I've

New blog post revealing a few more nuances of the detail the team built into our foley system for Ghost of Yōtei #GameAudio
bradleymeyer.com/wp-core/2026/03/14/the-s...

And of course the Coatsink team for being incredibly collaborative and genuinely valuing audio throughout.

Was also a bit of an unusual production with much of the team being laid off shortly before the end. meant I didn’t get to do the final mix so I’m very curious to experience the final result!

Huge shoutout to Ola Bäckström for amazing collaboration on sound design. Also to @simonirvingjames.bsky.social and @aidanhallaudio.bsky.social for taking care of the final stretch of the audio work without us, and to Raoul Neumann for the fantastic music and great collaboration.

Mixing the intense, telekinetic projectile-driven combat was also a tough nut to crack. We ended up doing some really fun dynamic stuff there that I’m excited to share more about soon.

One of the highlights for me was recording a ton of my own voice for the bird-like companion. It turned out to be the best way to cover the wide emotional range needed for its vocalizations.

Skytail Trailer - Coming  26th of March 2026 YouTube video by Coatsink

The trailer for Skytail just dropped, and it marks my first time leading a small audio team.
I ended up enjoying the planning, feedback, and collaboration side of things much more than I expected.

#gameaudio #gamedev

Here is a little breakdown of how it was put together.

Not all game ambiences should be this busy, but this was a great opportunity to lean into it.
Also, shoutout to the Coatsink artists for making the HQ look so nice!

I approached it with a hollow ambisonics room tone as a base, layered with randomly triggered spatialized sounds like furniture being flipped over on other floors, flickering electricity, eerie drones, and distant alien laughs to create a sense of activity beyond the player’s immediate space.

The goal was to make the space feel eerie and abandoned, while also hinting that the unwanted visitors might still be somewhere in the building.

Men in Black: Most Wanted - Vandalised HQ Ambience Sound Design YouTube video by Nikolaj de haan

I love when a game slows down and lets the environment carry the experience.

In a mission in Men in Black: Most Wanted you return to the MiB HQ to find it desolate and vandalized. Early in the mission the player is exploring without any action which made it a fun ambience opportunity #gameaudio

Hey everyone. We're in the final stretch on development for SweejTech's GPU raycast propagation system. Our API is designed to work with any audio middleware, including Wwise and FMOD, joining our existing compatible products. We'd love to hear from you, would you be interested in testing?

//FULL EPISODE: OUT NOW//

010 - The Killing Stone with Kat Wenske (@jelfish.bsky.social) and Chris Rickwood (@chrisrickwood.bsky.social)

Links:
linktr.ee/audiologs.po...

#deckbuilder #gameaudio #horrorgaming #gamedev #gaming #audiologs #outsourcing #sounddesign #music #occult #podcast

I love unexpected little moments like this in games, so I had to put some extra love into it. Shoutout to the Coatsink team for coming up with fun stuff like this!

Anyone else have a favorite fart design moment?

I also struggled a bit designing a good looping bathtub sound, but a recording of a duvet cover moving in a full bathtub by Axel Steichen strangely did the trick.

I got some great help from Mark Mangini, who recorded “mouth farts” in a bathtub with a hydrophone. @jonlipman.bsky.social also pulled out a hose to record some great underwater bubbles, which combined nicely with real fart recordings from an anonymous friend to create the illusion.

Let’s talk underwater fart designs.

Here is the secret about how I achieved high quality fart sounds for this fun moment in Men in Black: Most Wanted.

It’s all about the audio community - few challenges unity us more like a good fart challenge.

#sounddesign #gameaudio

- HGT: Offset the height from which occlusion raycasts are fired. Very handy if rays are e.g. unintentionally hitting the floor.

- OLS: Will override the default occlusion lerp speed.

Really curious if others are using FMOD user properties, and for what kinds of systems?

- RAD: Our occlusion raycasts fires from random points on a disc shape always facing the listener, and the value of the RAD property can override the radius of that disc.

- ENV: Reduces the raycast count for less important environmental sounds to improve performance.

UseOcclusion: This property is automatically added (or removed) by an FMOD editor script for all events that has any automation by our Occlusion parameter on its master track. Updates when banks are built. The game engine will then only do occlusion raycasting etc. for events with this property

Screenshot of a project in the middleware FMOD showing an example of how to use its User Properties feature

FMOD’s User Properties is a small but powerful feature that often gets overlooked. They’re essentially variables you can store on FMOD events and then read from the game engine.

On Men in Black: Most Wanted we used them extensively for our occlusion system. Here are a few examples 👇
#gameaudio

Thank you Jordan - it really is, and also sometimes quite a frustrating process when you're stuck, but I guess that is just a fun part of the learning experience 😅 Kinda simulates working with a stubborn audio director who wants something extremely specific very limited space for your own creativity

Sometimes I feel like recreating things like this just requires a ton of random experiments until you find something that works (like the jet engine). I am curious how other people would have approached this challenge?

Also Sorry about the crackling and slightly distorted mic - should have checked that like a pro before recording the video

The video is a kinda detailed breakdown of how I approached the designs in Reaper.

Apologies for a bit of waffling while explaining the process - creative rabbit holes can be hard to describe succinctly 😅

Early in the production of Men in Black: Most Wanted I knew we would include the iconic HQ fan room and elevator ride. To be one step ahead, and as a fun experiment, I tried recreating the sounds from the movie so we would have something ready once the scene would make it into the game.

Men in Black: Most Wanted - HQ Giant Fan Entrance and Elevator Ride Sound Design YouTube video by Nikolaj de haan

How I used recordings of a tortured piano and a jet engine to recreate the Men in Black HQ entrance.

Working with an established IP often means some fun reverse-engineering challenges, which can be a great way to practice sound design.
#gameaudio #sounddesign