『Audio Branding』のカバーアート

Audio Branding

Audio Branding

著者： Jodi Krangle
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Keeping a consistent sound in how you present your company really is the "hidden gem" of marketing. But audio or sonic branding influences us in many different ways and in many different places within our lives. Education is key! I explore that here, both with my own observations and by interviewing knowledgeable professionals in the field of advertising, marketing, music, technology and science. Want to be a guest on Audio Branding? Do you contribute something unique to the world of sound? Send me a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/jodikrangle and we'll talk. This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacyCopyright 2026 Jodi Krangle アート マーケティング マーケティング・セールス 経済学
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  • Sound Design in Video Games: From Sci-Fi to Immersion | Rune Eskildsen – Part 1

    Sound Design in Video Games: From Sci-Fi to Immersion | Rune Eskildsen – Part 1
    2026/05/27
    “When I started on the project of Necesse, we had maybe thirty sound effects. I’ve made around 400, 350 sound effects, so it’s become much more immersive. You can hear animals when you wander around in the different environments. And just the feedback you get by playing the game, it’s quite nice compared to before, which were much more… maybe empty is the right word.” – Rune EskildsenThis week’s guest is a media composer, sound designer, and drummer based in Denmark. He writes music and builds sonic identities across formats, from commercials and podcast jingles to film scores, game music, and in-game sound design. He holds a Master of Science in Strategic Communication, which he applies to creative direction, collaboration, and clear, audience-first storytelling.More recently, he’s become the Composer and Sound Designer of the indie game Necesse, selling more than 2,000,000 copies. His name is Rune R. B. Eskildsen, and he bridges classical training and cutting-edge technology to tell stories through sound. This episode will give you a fresh, behind-the-scenes perspective on how sound can shape emotion, imagination, and even player behavior.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that.(00:00) – Growing Up in a Musical HomeOur conversation starts with the movies and music that inspire Rune’s career in sound. “I clearly remember watching Star Wars,” he recalls, “and all of the soundscapes that are in, you know, just that huge universe, [with] TIE-fighters flying by and Darth Vader, that scary sound.” He shares his memories of growing up in a home that doubled as a music studio, and of studying classical music from a young age. “When I went to this special school in Denmark that is only for classical music,” he says, “and being there, being part of that, I played the French horn. At this time, I started to have ear training and music theory and all of that, which kind of led me on a path to try to make my own.”(15:00) – From Classical Music to Video GamesThe discussion turns to his work in the video game industry and how he got his start in composing video-game soundtracks. “I showed up at this incubator with game companies,” he tells us, “and I was, like, ‘This is me, I do music, I want to do music for games.’ And then some of the guys there, they said, ‘Hey, we want to work with you.’" Rune gives us a behind-the-scenes look at game development and recalls his sound work on MineRalph, a game where the soundtrack had to keep pace with the action. “So, because you gain speed if you’re, like, going down a hill or something like that, or down a hole,” he explains, “if you have high speed, the music will change into different adaptive layers.”(21:40) – Creating Immersive Gaming SoundscapesAs the first half of our talk comes to a close, Rune tells us more about his work with video games and shares another memorable project that took some outside-the-box thinking. “That was like a dystopian world sci-fi thing,” he recalls, “and that was actually mainly symphonic music. But again, it was sci-fi, so I was able to design a lot of, you know, sounds that people did not hear before.” He shares his thoughts on where indie games are heading next and how organic creativity is becoming an increasingly valuable asset in the industry. “I think in terms of trends,” he explains, “people are trying to make immersive worlds that are standing out more than just being, you know, if you use Unity... making it more creative, making your own world, making it hand-drawn instead.”Episode SummaryRune shares his early memories of sound, particularly from sci-fi films.Rune explains his journey from classical music to video game soundtracks.Discussion on current trends in game audio and the role of AI.Tune in for next week’s episode as we talk more about the influence of AI in video games and cinema, Rune’s advice to musicians for juggling the rapid-fire demands of modern freelancing, and how countries around the world are managing the environmental impact of the AI boom.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the ...
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    31 分
  • Sound Design Process: A Conversation with Kenneth Johnson

    Sound Design Process: A Conversation with Kenneth Johnson
    2026/05/20
    “I think that sound drives the emotion of a scene, right? As much as dialogue, right? Sound and music, score in particular… I just think it helps to create emotion in a scene or augments the performances. Because you gotta have great performances, but great performance coupled with, you know, great sound design or a great score, it just makes you feel, it does something, it makes you tingle. It does something to you that just envelops you in that moment, right?” – Kenneth JohnsonThis episode is the second half of my conversation with sonic storyteller and founder of Artistry in Sound, Kenneth Johnson, as we talk about his experiences as one of the earliest Black sound designers in Hollywood, the changes that AI and streaming media have brought to sound design, and how horror movies in particular combine a variety of sound approaches to make a powerful impact.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that.(00:00) – The Role of Sound in FilmOur discussion continues as Kenneth walks us through the process of sound design, from shooting script to the recording booth.“As I’m reading the script,” he tells us, “I’m sort of envisioning the project and thinking about, okay, well, what do I think it should sound like? And what can I do to embellish those scenes? And so once I’ve kind of digested that, then we do what’s called the spotting session with the creatives.” He tells us more about creating a cinematic soundscape and reveals just how little of what the audience hears comes from the action onscreen. “Everything, usually, other than the dialogue, we recreate,” he says. “Whether that’s a car race, a spaceship, or it’s by a river, everything that you hear, all the ambience, all the sound effects are redone. We’ve recreated that whole soundscape.”(15:45) – Production Recording vs. Post-ProductionKenneth tells us about his up-and-coming experiences in Hollywood and the importance of diversity in the sound industry. “What I do is I try to give people opportunities,” he explains. “My team, you know, are from their early twenties to forty, and the majority are African American, and the majority of them, well, all of them, basically, I trained and mentored. And they’re very talented.” We discuss the growing role of AI and streaming content in sound editing, and how much software apps have changed the process since his audio career began in the ‘90s. “Once we put [the audio track] into iZotope RX,” he tells us, “we could see it, and so I had to figure out what’s making this resonance. I had to take some things out, and it turns out it was a metal music stand that was vibrating and causing that frequency.”(25:30) – The Future of Sound DesignOur conversation comes to a close as we talk about the different roles and responsibilities involved in cinematic sound, from soundtracks to dialogue to each layer of Foley sound. “We want it to be able to breathe because if you just throw everything on the wall,” he says, “then it’s not going to be as nice as if you selectively pick what’s going up there. That’s important to figure out, who’s going to handle what, because a lot of times sound design and score can overlap.” Kenneth tells listeners how they can get in touch, and he offers his advice for newcomers in the sound industry, including the value of hands-on experience. “I can take you to a class and talk for a few hours about techniques… Are you going to retain that? Probably not,” he says. “If you’re able to get in there like I did and have access to being able to work and try out different things and get advice, you’re going to move faster.”Episode SummaryWe discuss how sound drives emotion and shapes a movie’s narrative.Kenneth outlines his creative process from script reading to ambient sound design.Insights and advice from Kenneth for the next generation of sound designers.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding ...
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    29 分
  • Sound Design Secrets: A Conversation with Kenneth Johnson

    Sound Design Secrets: A Conversation with Kenneth Johnson
    2026/05/13
    This episode’s guest is an award–winning supervising sound designer whose groundbreaking work has shaped the sound of some of television and film’s most iconic projects, including Netflix’s hit series Forever and Kevin Hart’s animated comedy Lil Kev. Born and raised in South Central Los Angeles, he rose through the ranks of Hollywood post-production, breaking barriers as one of the few Black sound designers in the industry and earning multiple MPSE Golden Reel Awards and Emmy nominations. Today, he’s not only redefining sonic storytelling but also championing greater diversity behind the scenes, ensuring the voices shaping what we hear are as dynamic as the stories themselves.His name is Kenneth Johnson, and in this episode, we’ll discover how he transforms silence into emotion and builds powerful storytelling through every note, tone, and texture.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that.(00:00) – Kenneth’s Early InfluencesWe start things off with a look at Kenneth’s journey from a childhood in the South Central projects to an award-winning Hollywood career. “Something just came over me, and I said, you know what? This is it, I’m kind of done,” he recalls a pivotal moment early in life. “I had to make a decision as to what I wanted to do with the rest of my life, and, you know, I’ve always liked music.” He tells us about his early career in post-production sound and a chance encounter with producer J.R. DeLang. “He said, ‘That’s great, but you can’t come in and just sit in that chair. You’ve got to work your way up to that.’” Kenneth tells us of their first meeting. “He said, ‘we’ve got two positions that usually work their way up to being [soundtrack] mixers, and that’s a dialogue editor and a sound effects editor.’”(12:45) – The Journey to Sound DesignKenneth tells us more about his work as a sound designer and the art of creating impossible sounds, such as the wild inventions in the Honey, I Shrunk the Kids series. “They were always creating these contraptions and things that don’t exist,” he says, “so you had to figure it out in your mind. You’d have to say, ‘Well, what do I think it sounds like?’ Or what should it sound like? And then you start putting pieces together.” He recalls his sound editing work from a memorable scene in the award-winning movie Road to Perdition and the thought process behind it. “We started out with just hearing the sounds of winter,” Kenneth explains. “And then he tries to start the car, and the car is not really functioning and he’s having an issue starting it. And so that whole sequence of him trying to start the car and then finally getting it started was, it was just really beautiful.”(25:30) – The Power of SilenceAs the first half of our conversation wraps up, Kenneth emphasizes the importance of testing sound work in its native format as well as the studio. “I think a lot of times people don’t do that,” he says. “They don’t play it back in the medium that it’s meant to be played on. They just play it in the room and it sounds fantastic, right? But then when you squash it all down to a stereo file, it will sound different.” We talk about what goes into setting up an ideal sound studio and about the importance of “tuning” a room. “Say there’s a dip in the low end,” he explains, “and the room hasn’t been compensated. We’re going to push the low end, which means that possibly when it gets to another playback format, the bass is going to be really loud. So we try to mix in a neutral environment where everything is flat.”Episode SummaryKenneth discusses his childhood and transition to film and television sound design.We discuss the challenge of creating sound effects for things that don’t exist.Kenneth emphasizes the importance of maintaining an ideal studio sound space.Tune in for next week’s episode as we discuss how Kenneth puts sound to work in shaping a narrative, how his role as a sound designer has changed since digital sound editing became the norm, and his advice for people who are just starting out in post-production and sound editing.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://...
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    32 分
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