A sound designer is an audio professional responsible for creating and manipulating audio elements in film, television, video games, theater, and any other context that requires sound.

They work closely with directors, producers, composers, and other members of the creative team to ensure that the audio elements align with the overall vision of the project. This involves tasks like creating sound effects, editing dialogue, integrating music, ambient sound design, and Foley artistry.

Sound designer David C. Hughes (Black Panther, Captain America: Civil War, Doctor Strange) said a lot of sound effects these days come from libraries of pre-recorded sounds.

“The way these jobs are typically done now is by taking from libraries of recordings you already have, libraries that you can either buy or you can go out and record,” he said.

“Say there’s a helicopter in your movie, so you go record a helicopter. A lot of times, what a Sound Designer is tasked with are those things that you can’t simply find a recording of and plug it in. If it needs to be a helicopter eighty years in the future or something, that’s more of a design task.”

You can also be a sound designer in theatre, like Gareth Owen (Andrew Lloyd-Webber’s CINDERELLA, Spring Awakening).

“The sound design in theatre is critical to the show–without it, the audience would not be able to hear the orchestra or the singing,” he said. “Also, many of the sound effects are important for telling the story and for putting the audience in the right acoustic place.”

What is a Foley artist?

A Foley artist is responsible for creating and recording custom sound effects that match what’s happening on screen, like in a TV show or movie. This involves working in a recording studio with tons of different props that re-create the sound of footsteps, door creaks, rustling clothing, and anything else that might be in a show or movie.

What does a typical day look like for a sound designer?

While every day can be different depending on the stage of the project and specific responsibilities, here’s what a typical day for a sound designer might include…

• Project Meetings and Planning: meetings with the director, producer, and other members of the creative team to talk about the project’s progress, upcoming deadlines, and any changes in the vision.
• Sound Editing and Mixing: editing and mixing audio is the main thing a sound designer does.
• Foley Recording or Review: Foley artists create custom sound effects to match the on-screen action, and the sound designer ensures these effects seamlessly integrate with the rest of the audio.
• Music Integration and Scoring: if the project needs original music or licensed tracks, the sound designer may collaborate with composers and/or music supervisors to put music into the mix.
• Ambient Sound Design: the sound designer might also focus on creating ambient soundscapes to establish atmosphere and immerse the audience in the world of the story. This could involve layering background noises like city traffic, natural environment sounds, or interior room tones.
• Problem-Solving and Troubleshooting: the sound designer encounters many types of technical and creative challenges that require them to solve the problem on the spot. They might need to troubleshoot software or hardware issues, find creative solutions to get specific sounds, or address feedback from the creative team.

To learn more about the different facets of sound design and how to start an audio career in the field, we talked to Sound Designers working in several different fields.

In this article you’ll hear from:

• David C. Hughes (Black Panther, Captain America: Civil War, Doctor Strange)
• Matt Lange (Ford v. Ferrari, Ready Player One, Blade Runner 2049)
• Gareth Owen (Andrew Lloyd-Webber’s CINDERELLA, Spring Awakening)
• Raison Varner (Borderlands 1-3)

“One of my favorite classic tricks,” Lange said, “is recording the sound of celery being snapped in half, which has been used for decades as the sound of bones breaking.”

Breaking into the highly competitive business of sound design is very challenging and usually requires working as an Intern or Assistant on teams or with established Sound Designers at low or no pay in the beginning. Sound Designers report being able to earn $30,000 to $40,000 in the first few years of employment, later moving up to salaries around $100,000 per year or slightly higher.

An entry-level position with a well-known company might pay $75,000 annually. Some Designers might also work on an hourly or per-shift basis (a shift is about eight hours) earning between $200 to $800 per shift. This might sound like a lot, but most of the jobs are in places like Los Angeles where the costs of living are also quite high.

Sound designers in the union have rates that “are pretty locked in,” according to Hughes.

“This is a union job I’m working on, and I think the Sound Editor rate is $63 an hour,” he said. “Plus there’s usually some overtime.”

But he said non-union jobs can pay somewhere around $40 an hour. Every project can be different.

“There’s a huge range,” he said. “I mean, my income probably went from $30,000 a year when I was starting, to up to $100,000 a year. But that took 5–10 years to get there.”

The most successful Sound Designers command large fees from major studios or companies and typically also manage teams of people working on all aspects of audio production. In general, the more responsibility they have, the more money they can earn. Large-budget projects have sufficient money earmarked for music and sound design and big studios may sub-contract (hire) smaller specialized sound design companies to work on a production or a game.

The Sound Designers working for those companies may be on salary, as long as there is enough money coming into the company to support their work ongoing. Sometimes a big studio or game company will buy a smaller sound design company to bring the operation in-house and prevent the Sound Designers from working with the competition.

Smaller projects will have a more limited budget and the Sound Designer will have to bid on the job in a competitive environment. The competitive bidding process is designed so that the client can choose a Designer they think will be able to complete the work to their specifications at the best possible price. The bidding process usually begins with the client soliciting a “request for proposal” (RFP) from the sound design company or Designer interested in doing the work. Once a proposal is approved by the client, a contract will be executed.

Most contracts are for a flat fee, also called “work for hire,” meaning the Sound Designer doesn’t receive royalties from the future revenues generated by the project. In some cases, the Game Music Composer might have an opportunity to sell their music within a game to generate publishing revenues.

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The career outlook for aspiring sound designers can be promising, given the increasing demand for high-quality audio in all different types of media, like film, television, video games, virtual reality, and podcasts.

The demand for sound designers is expected to remain strong as the entertainment industry continues to grow and diversify. With the rise of streaming platforms, virtual reality, and interactive media, there are increasingly more opportunities for sound designers to showcase their skills. On top of that, businesses are recognizing the importance of high-quality audio in branding and marketing, creating additional avenues for sound design work.

While competition can be fierce, sound designers who demonstrate creativity, technical proficiency, and professionalism are likely to find success in this dynamic field. Continuously updating your skills, staying current with industry trends, and fostering strong professional relationships can help you thrive as a sound designer in a competitive market.

Sound designer Raison Varner (Borderlands 1-3) said you’ll have to work hard to make this a career.

“In a low cycle, I’ll have fairly normal 8-hour days at a relaxed pace,” he said. “In a peak cycle, I’ll have 8-hour high-intensity days for a while and then 9-12 hour high-intensity days for a week or two preceding a major milestone. Depending on the milestone, I’ll sometimes work a couple of Saturdays or a weekend or two in a row. When that happens, though, it usually comes with comp time afterward.”

How do you get into sound design?

First, you need to love working with sound, according to Lange.

“Like anything, you choose to,” he said. “You’ll only choose to if you truly love sound, the concept of sound, the science of sound, the emotional response of sound. It’s a truly exciting world where the only real limitation is your imagination. The rest is up to you.”

Varner said sound has to be a true fascination of yours if you want to make it your career.

“This career only really works if it’s what you’d be doing anyway with your time,” he said. “Without that level of interest, the sometimes chaos and long hours/intensity at the end of milestones may not be worth it long term.”

Here’s an overview of how to start your career in sound design and find work…

Getting into Sound Design

1. Education and Training: While formal education is not always required, many aspiring sound designers pursue degrees or certifications in audio engineering, sound design, or related fields. These programs provide hands-on training with industry-standard equipment and software, as well as opportunities for networking and internships.
2. Build Skills and Portfolio: Developing a strong portfolio showcasing your work is crucial for landing sound design gigs. This may include projects completed during school, personal projects, or freelance work. Building skills in sound editing, mixing, recording, and Foley artistry is essential for success.
3. Networking: Networking is key to finding opportunities in the competitive field of sound design. So attend industry events, join online forums and communities, and connect with professionals in the field to learn from their experiences and potentially find job leads or collaborations. (In Varner’s words: “creating good rapport and friendship”).
4. Gain Experience: Starting out, you may need to take on unpaid or low-paying projects to gain experience and build your reputation. Consider volunteering for student films, indie game projects, or local theater productions to expand your portfolio and network.

Finding Work

1. Freelancing: Many sound designers work as freelancers, taking on projects on a contract basis. Online platforms like Upwork, Freelancer, or SoundBetter can be useful for finding freelance opportunities, as well as networking with potential clients.
2. Production Companies and Studios: Production companies, film studios, game studios, and advertising agencies often hire sound designers for their projects. Research companies in your area and reach out to inquire about potential job openings or freelance opportunities.
3. Networking and Referrals: Word-of-mouth and referrals can be powerful tools for finding work as a sound designer. So maintain good relationships with clients, colleagues, and industry professionals, as they may recommend you for projects or refer you to others in need of your services.

Hughes suggests setting up an online portfolio you can easily send to a film director or assistant director.

“…I think it’d be great to have your own personal Soundcloud or Vimeo page, or your own little splash page website that you can direct people to and say, ‘Here are a few examples of my work,'” he said.

“So, if I was an 18-year-old and thought I might want to get into sound design, there’s just so much right now with VR, and with game audio design, and with all the streaming content the studios like Netflix and Amazon are doing,” he continued. “It really seems like a lot more things are opening up that could make really good jobs and really good career paths.”

Video games are a common entry point for sound designers. Lange and Varner both started out working on indie video games, animation projects, and student projects.

“…Whatever you can find that is work to picture or interactive mediums,” Varner said. “Stay active on projects that give you deadlines and/or structured goals.”

To succeed as a sound designer or Foley artist, you’ll need a combination of technical skills, creative abilities, and relevant experience. Here are the key skills and experiences you should focus on

Required Skills

These skills are a combination of audio recording, editing, microphone placement, and overall creative instincts…

• Proficiency with digital audio workstations (DAWs) like Pro Tools, Logic Pro, Ableton Live, or Adobe Audition
• Knowledge of audio editing software for cutting, layering, and manipulating sounds
• Understanding different types of microphones and their appropriate uses
• Skills in recording techniques to capture high-quality sound effects and ambient noise
• Field recording (recording real sounds usually with a portable recording device)
• Experience with effects processing, like reverb, delay, equalization, and dynamic range compression
• Ability to create and manipulate sounds to fit the narrative or emotional context of a scene
• Ability to sync sound effects with visual elements, ensuring precise timing and seamless integration with the on-screen action
• Strong creative vision to design unique and appropriate sounds for various media
• Ability to think outside the box to create innovative soundscapes
• A keen ear for subtle nuances and the ability to detect even the smallest imperfections in sound
• Understanding of narrative techniques and how sound can enhance storytelling
• Ability to convey emotions and create immersive environments through sound
• Strong communication skills to understand and execute the creative vision

Recommended Experience

To give yourself a leg up as a prospective sound designer, here’s the education and experience you should consider…

• Formal education in sound design, audio engineering, or a related field can be beneficial
• Specialized courses or workshops in foley art and sound design
• A strong portfolio showcasing a range of projects, demonstrating versatility and skill
• Experience working on various types of media, such as films, video games, television, and theater
• Staying updated with the latest trends, tools, and techniques in sound design and foley art
• Understanding of industry standards and best practices
• Regular practice creating and recording sounds in different environments
• Experimentation with various objects and materials to produce Foley effects
• Gaining experience through internships or assistant roles under established sound designers or foley artists
• Real-world experience working on sets and in studios to understand the workflow and challenges
• Building connections within the industry to learn from others, find opportunities, and collaborate on projects

By combining these technical skills, creative abilities, and relevant experiences, you’ll be on your way to building a successful career as a sound designer and/or Foley artist.

Also, pay attention to the sounds in your everyday life. This will help you find inspiration in your work.

“What kinds of sounds make you feel lonely?” Hughes said. “What kinds of sounds make you feel scared? What kinds of sounds make you feel apprehensive like something’s going to happen? If you listen in your day-to-day life, you can sometimes hit an idea that you can use in the film.”

Most Sound Designers attend college or university music and audio engineering and production programs. It’s possible to earn a degree in sound design, and there are courses and certificate programs.

Varner said educating yourself in audio recording and editing can be crucial to your success.

“Beyond normal composition and orchestration training, it’s very important to get a solid education in audio engineering and music mixing,” he said. “I would also stress exploring and developing your craft in areas like electronic music production, guitar-based bands, etc.”

A sound designer might be a musician, DJ, or Audio Engineer who is especially adept with music technology. Many begin by studying film scoring, music synthesis, electronic music, and audio engineering. Students initially learn how to set up and run a home studio, use DAWs (digital audio workstations), and learn basic sampling, digital signal processing, MIDI sequencing, synthesis, mixing, and other techniques central to sound design and electronic production.

College programs teach the current music technology and compositional techniques used in film scoring and sound design, as well as the business skills needed to go out and get the work. Students will be required to assemble a portfolio before graduation and will have access to the facilities and resources to do so. This is one big advantage of attending a school.

Hughes said there’s not one way to become a sound designer, but school can be very helpful.

“Once you’ve figured out what you want to do, try to see what kind of higher education opportunities there might be,” he said. “But also, get your hands on the tools that people are using. If you read about people doing sound design work and you’re interested in how they did it, you can get your hands on some of those tools and start to familiarize yourself with them.”

Students also study the history of film scoring, sound design, and electronic audio for visual media, which goes back about sixty years. (One of the first films to incorporate electronic audio effects used a theremin and tape delay in the soundtrack for the film Forbidden Planet.) More modern applications for sound design in film might include creating sounds for CGI animation effects, animated logos, streaming VR movies and video games, and even virtual social media influencers. Studying the history of electronic music and sound design provides a context, and awareness of prior influential scores offers a useful framework for creating the soundtrack of the future.

In school, more advanced courses focus on using sound as texture within visual media, learning to work with software synthesizers and samplers, and using raw and electronic sound sources to create unique sounds and musical soundscapes. Students learn how to apply audio effects to enhance and customize sounds, to generate audio loops, create original instruments, and apply these sonic textures to a mixed score.

They might also study techniques for creating EDM music, learn to DJ, practice turntabling, perform live on synthesizers, learn new ways to play and compose music, learn advanced techniques for using Pro Tools music production software, or create music for body and mind relaxation or wellness.

Other more advanced subjects taught in sound design and electronic music production programs include sound design for game audio, sound design for VR (virtual reality), use of Ableton Push for performing live, use of modular synthesizers for performing and sound design, EDM production, use of Csound (free software for audio programming), training for advanced DSP (digital signal processing), electronic sampling, mixing, circuit-bending, physical modeling, use of Roli Seaboard Rise (an innovative newer kind of keyboard MIDI controller), and use of software programs and real-time tools such as MAX for Live, Logic Pro X Sculpture, and Native Instruments Komplete. Students also learn to use various DAWs and audio implementation tools such as Wwise and Fmod Studio for both linear and interactive media.

Many of these courses are taught in cutting-edge labs and studios with state-of-the-art facilities. Being enrolled also comes with student discounts for hardware and software bundles, and access to labs and studios where students can experiment and learn on their own. There is a lot of material to learn, and the technology is constantly evolving, so the Sound Designer needs a mindset of constant learning to keep up with the trends.

As the use of electronic-based sound has grown and opened more opportunities for expression, Composers and Sound Designers must learn to use the new technologies to create sounds that no one has heard before. Using synthesizers, samples, and audio effects combined with traditional instruments to engage, entertain, and excite listeners, Sound Designers explore new realms in the world of creative audio and produce innovative and unique soundtracks to enhance the listener and viewer experience. With the right mix of training, skill, and creative abilities, experienced Sound Designers will continue to shape the aural world for generations to come.

All that being said, Lange, who attended Berklee College of Music, said you don’t need a degree.

“…Truthfully I don’t believe any institutional qualifications are needed,” he said. “What matters most, like most trade jobs in Hollywood/multimedia, is your skill/experience, your work ethic, and frankly being a pleasant person to work with.”