Category Archives: EDU


This post exists solely to provide a means of asking questions, ASK ME ANYTHING!

I am thinking primarily about EDU aspects, but if you want to ask a question about a sound library or how or why I do what I do, please feel free! Either via a comment on this post. Or if you prefer to ask privately, please use the EDU Contact Form below, or email me via EDU at HISS and a ROAR dot com

I will reply directly to you as soon as I am able, and if your question warrants a longer answer which would be useful to others then I will make a seperate blog post in response.



    EDU003 Career Advice Part 1

    Field recording – Canterbury Coastline – 29th November 2006

    About once a month I get an email asking for career advice and as time allows I write the best, most honest reply I can…. But having done that now for the tenth time I decided to write a post on the subject, so that in future I can save some time by first referring people here. But please bear in mind these are all my opinions, question them & find your own conclusions.

    Firstly, there is no easy answer, but there are a lot of questions and the first question is this:
    Do you want a job or are we talking about a VOCATION?

    If you just want a job, then I am likely not the right person to be asking. I personally believe that every sentient person has a vocation hidden in them, that is waiting there to be discovered. So what is a vocation? Lets ask

    vo·ca·tion [voh-key-shuhn] –noun
    1. a particular occupation, business, or profession; calling.
    2. a strong impulse or inclination to follow a particular activity or career.
    3. a divine call to God’s service or to the Christian life.
    4. a function or station in life to which one is called by God

    I’ll leave religion out of this discussion for now, although it isn’t entirely unrelated, but that last word in definition 1 is the key: a vocation is a calling. The few times I have been in hospital (appendix, broken leg) I have been so appreciative of the work that doctors, surgeons, nurses and all of the medical staff do, and many times I have also thought to myself: wow these are jobs I could not do! Why? Because it is not my calling and I know it. But I so appreciate the fantastic people for whom caring for others is their calling. COVID has reinforced this sense of gratitude, as these incredibly hard-working and caring people put their life on the line to help others. They are truly essential workers.

    So do you really want to do “THIS” for a living? (regardless of what “THIS” is, exactly)
    If you are not sure, maybe ask yourself the same question in one weeks time. Then ask it of yourself in a months time. Then in six months time. Is THIS calling permanent for you? Or is it a whim? Some things look like fun… until you try them.

    Another litmus test for a vocation is this:
    Would you do it regardless of being paid or not?

    We all need to eat & pay the rent (food, clothes & shelter) but is the financial reward what drives your wish to do THIS for a living? Or is it a passion that transcends financial reward?

    Someone a long time ago said this to me:
    If you can turn one of your hobbies into a career then you will always be happy.
    Why? For the same reason, it’s a test. Do you love it so much that you would do it without being paid? Does the primary reward stem from the work itself, simply doing IT.

    When you are young, and anything is possible, being specific is less of an issue. You have plenty of time to go up a few wrong alleys, and sometimes the only way to know if you will enjoy something or not is to try it. And it can still be valuable to find out that what you thought was the solution isn’t. This happens often with work, discovering what doesn’t work provides valuable insight as to what might work, and such knowledge over the years adds up to wisdom & refines your instincts.

    Ok so lets get specific, what is IT, that you really want to do?
    Tell me/yourself in five words or less.

    Sometimes young people say “But I will do anything!!” Unfortunately what that says to me is that you do not know what IT is. There are only so many hours in the day and when someone says that I think to myself: “hmmm.. well perhaps you should go away and do some more research?”

    When someone considers taking on a trainee, an intern or an employee they know it is a two-way road. A business must invest a significant amount of training to get a new member to contribute to the work being done. The last thing anyone wants to hear, after say investing six months training a new dialogue assistant, is that the person has changed their mind & now wants to be a composer. It may not be clear to you EXACTLY what it is you want to do, but if that is the case then there is plenty of research you can do to help clarify that situation. In fact THAT should be considered your job, until such time as you work out what your vocation is.

    Research? What research?
    There has never been a time when research has been so easy and accessible. Read books. Watch documentarys on the subject. Read industry magazines. Ask people. Ask Google. Learn how to use Google Advanced Search. Ask Google more specific questions. Save relevant websites as PDFs for later reference. Learn to use your public (free) library. When I was young I couldn’t afford to buy many books, but I did learn how to interloan books using the library system. And a month is long enough to read most books & photocopy or photograph what you need to retain….

    More research: Equipment
    Find out what equipment is relevant to what you want to do and start learning about it – software and hardware… Most user manuals are available as PDFs.. When I was young I read the ProTools manual from cover to cover and I made a note of less obvious functions that could be handy. For example, just the other day I mentioned to a soundie friend my process of exporting ProTools markers as text, so I could import them into an Excel spreadsheet for auto-naming sound library files. He was surprised you could export a ProTools session as text, and had never found that function, so he no had idea it exists. But it’s right there in the manual, it’s right there in the ProTools menus. But if you don’t even realise it exists, you can’t start dreaming up clever ways to use such functions.

    Researching Work History
    Ok, so you are starting to narrow IT down. As you learn more about what is involved in each role, you become able to ask more intelligent questions when you meet someone who actually does one of those roles for a living. This is good and may well have a direct bearing on you finding yourself in the role you are aiming for.

    I remember when I was looking for work experience (not job hunting, I’ll get to that) one thing I did was research the work that each person I approached had done. Nowadays, with IMDB, thats a fairly easy task but back then it required me hunting through old issues of trade magazines & reading lots of credit lists. Maybe the slower process made me appreciate the value more, but as with any information it is what you do with it that matters. In my case, I had a list of the projects my target person had worked on, so next I went and watched & listened to a bunch of these projects. How many? As many as you can. But the point isn’t to say you have seen/heard everything someone has done. The point is to be able to learn from them, and to be able to ask intelligent questions as to how they approached that project, or even better specific moments or elements of that project. Make notes you can refer back to.

    Doing this research works positively in two ways: First you are learning & thinking about what it is that person contributed (& maybe you have it all wrong! Best to find out) and second, the person may well be flattered that you bothered to find out about them & their work. But this is not about pandering to egos or about being disingenuous. If this is your vocation you will be genuinely interested. They will appreciate that you are learning & seriously thinking about what it is you want to do, relative to them and their career. This sends an important message.

    Revising this now, a decade later, it is interesting to see how terminology has changed. People speak of having a ‘side hustle’ while holding down a day job to pay rent & live, and are developing their hobby into a business in their spare time.

    Apart from being a necessity, philosophically holding down a day job can be motivating. I had an 18 month long gap year, between when I dropped out of University and before I started Film School. During some of that period I was unemployed, but I took on one part time job that had crazy hours: I would work 5 days on 5 days off, and would start work at 11pm and finish at 7am. The job was mind numbingly boring, basically I was baby-sitting a 24 hour video store and gas station in the suburbs. I think the owners realised it was cheaper to pay me a wage than to pay insurance and security for a closed garage. But between the hours of 1am and 5am I would just watch movies because no one would come in at all. I also remember one night I took the Nagra in to work, and someone came in to the store at 2am and found me with 1/4″ tape all over the counter, as I was learning to splice tape!

    But what that part time job taught me was this: I could have stayed in that job the rest of my life. It was easy work, the pay was ok, there was no stress. But I knew I wanted more from life. I wanted to creatively contribute. I wanted to pursue sound with a passion! So when I got accepted into Film School and handed in my resignation at the video store, it really did feel like the start of my career. And it was!

    Now one other story, which reflects on an important aspect of finding your vocation: Do not be in a rush.
    I was reminded of this by an assistant sound editor on Lord of the Rings. He was a young guy that I knew and had worked with, so I knew he was keen as hell, conscientious and ambitious. I respect that, but each of us has to pay our dues and prove out worth. I’ll save this for another post, but as an experienced sound effects editor, I was the only person in NZ who turned down three years of work on Lord of the Rings. But my studio was directly across the road from Park Road Post, where all of the LOTR team were based. One day this assistant knocks on my door and I can see he is pretty upset. What’s up? He explains, he has been working his butt off, working long hours often doing thankless tasks, but always with a positive attitude and grateful to be there. But. There had been a recent promotion, and one of the other assistant sound editors had been promoted to First Assistant Sound Editor. So they were effectively the lead or manager of the team of assistants. On a large scale project like that, where VFX updates are arriving constantly and conforms are critical to avoid more senior sound editors losing productive time, the assistants play a very important role. But he was upset as he felt he should have got the First Assistants role. We talked through the issues, but something was bugging me and I eventually just had to ask. How old are you? His answer: 23. I sighed and explained that I didn’t even go to Film School until I was 25. I didn’t even get a start as a trainee sound editor on TV series until I was 26. And you are asking me to sympathize with you because at 23 you have an important role on a huge budget trilogy and you didn’t get promoted the first time such a change occurs? He quietened down at this point and went away and had a think about being thankful for where he already was. But also to think about whether it was what he wanted to be doing. Be careful what you wish for.

    Verifying your dreams
    An important part of your research in finding your vocation is to find out if you actually want what you think you want. Seeing the results of someone else’s work, or wanting someone’s job, does often not take into consideration the hours of maybe boring but vitally important work that also contributes to it. Similarly, you do not want to accrue student debt to go to Film School only to find out that it actually isn’t your vocation. You need to find that out beforehand, and I think that may well be where learning as a hobby can be a good way of checking and verifying that your hopes and dreams are grounded in a reality, that will last through the years.

    This is very similar to music, in that many people learn a musical instrument. But far less make a career in music. It is a choice and a commitment, but for some people keeping their hobby as a hobby can be more rewarding than risking an attempt to professionally pursue their hobby. In some cases protecting a hobby from the need to monetize it can be its own reward. If for example I play in a punk electro noise band in my spare time and all we ever do is make a racket and have fun, then there is no risk of disappointment that we don’t achieve anything more than that. But put that same band under some kind of career-ist pressure and maybe all the fun will evaporate.

    Food for thought!

    In Part 2 I get very specific about sound as a career choice…

    originally posted February 18, 2008




    3,700 words – 15 minute read time

    – what it is, what we will be learning + why it matters
    – what equipment you will need to actively participate
    – who am I, my motivation & the experience I draw from

    SOUND EDITING 101 – From the Script to the Final Mix

    This post marks the start of a new aspect of HISSandaROAR. My aim is to slowly build a creative study course, by working through the entire process of creating the soundtrack for a film. I have completed this process many times, on a wide range of films. From no budget short films, through to VFX heavy US Studio films where I was supervising a team of sound editors, through multiple temp mixes, endless conforms & tight delivery deadlines.

    From an educational perspective, this is also a process I have worked through many times, back when I used to have virtual interns via my MUSIC of SOUND blog. Every question the interns asked prompted a new discussion and also helped to clarify the motivation for particular approaches to such work.

    So before we start, I thought I would use this post to outline what we will be studying and why it is important. I’ll also outline how the course will occur and what equipment you will need to actively participate. And finally a brief outline as to who I am, my motivation & the experience I draw from.

    Each lesson will involve a specific aspect of working as a sound editor,  with a practical exercise for you to complete. For these exercises, I will provide video & any sounds required, but I do not plan to ‘mark your homework’ or provide a certificate or anything at the completion of the course. As with any creative activity, the course may actually never end. No matter how much I think I may know, on every project I have done, I have learned so much. Every film is unique and requires the creation of a unique sound world to reinforce & support the story. The learning process never ends!

    But I do plan to spend the first month of lessons establishing basic skills. For example, there is no point explaining in detail a complex method of eg designing a creature vocal, when a student may not yet even have the skills or experience to know how to set up an editing session in their DAW with an understanding of sync, formats and standard approaches to such work. Sometimes I see videos online of people demonstrating their ‘sound design’ and it often feels more like they are demonstrating their collection of plugins. Maybe they are far along the path and have all of the basic skills of sound editing and sound design ingrained. But from my perspective, and so I don’t repeat myself, first we are going to learn to walk. When I started work as a trainee sound editor, if you could not reliably ‘sync rushes’ (with or without a clapper board) then you would not be progressing to more creative tasks. So you can consider me a little bit ‘old school’ in that respect. If you feel you already know all the basics then I would still appreciate your participation as a form of peer review.

    While I appreciate many tutorials currently exist solely on Youtube, that is not my approach. If all you want is a recipe ‘How to design light saber zaps’ or whatever, then this likely isn’t the course for you. I am not going to be making talking head infomercials, because I believe it is important to differentiate between passively watching a video, with actually working.

    My aim is to help you develop practical, repeatable skills by gaining insight into the process AND practicing such techniques yourself. There will be no rote learning. This course will not be passive. Sound editing is a practical art, and extends far beyond your computer, involving many aspects of your life and personal history.

    I also believe that learning HOW something is achieved is not enough. The reason WHY is vitally important, and WHEN provides the context. Without understanding why, you won’t remember how.

    As part of the course I will also post listening exercises for you to do, to help you develop critical listening skills, and methods for analyzing reality for future reference. These exercises are not intended as a ‘one-off’ – the aim is that these listening exercises become a part of your daily life. I have the first listening exercise clearly in mind, it requires no equipment at all, so I will post it next week so you can make a start and get a feel for what is involved.

    At some point I will post a questionnaire as I am intrigued to gauge interest and learn of your background, but I suspect the first participants will actually be people who already know me and my work. Maybe you are already working professionally with sound (and/or music) or working in adjacent industries such as game audio, podcasts, picture editor, composer etc.

    But I think my target audience is actually me, as a kid. When I was getting started, access to gear and experienced people was practically impossible. Reading books and manuals was the only way I could gain any insight into my dream job of becoming a sound effects editor for film. I remember how hungry I was for it. And how frustrating it was to have zero access to anyone with real experience. This is also why I choose to make this course freely available, as I feel the people who it may benefit most may not be able to afford a paid course, especially during COVID. Now more than ever people are time rich. Let’s use that time to gain some skills!

    For experienced people, working through the practical exercises may well be unnecessary, but I am also very interested in the idea of this being PEER REVIEWED. I consider the lovely people who support HISSandaROAR to be kindred spirits, and I know this to be true from many conversations over the years. So if you are experienced and you can correct or provide better insight to something I write in this course, then please do! Again via comments on a post or via email. This will be especially welcome when discussing established workflows, and some technical details. I am experienced, but I also know the limits to my knowledge. Corrections and input are welcome.

    You’re going to need access to a computer and a DAW. I personally think you need to be using ProTools, because it is a standard in the film industry. Films are mixed on a dub stage, and those are usually fed from multiple ProTools workstations so regardless of your preference, I believe you need to know how to use ProTools.
    Can you use a different app? Maybe. I am well aware that for sound post production some people do use Reaper and some use Nuendo. But please do not confuse a music app with a DAW for sound post. For example, I own and love ableton LIVE, but it is not a DAW designed for post-production. Of course you can make and edit sounds in LIVE but the complete lack of a timecode-based timeline is just one example that shows how unsuitable it is for such work. I have never used Apple Logic, and while I know plenty of musicians who love it, I don’t know anyone working as a film sound editor who uses it as their primary DAW.

    I am sorry if this is not welcome news, but it is my reality based on years of experience. If you don’t have access to ProTools or Reaper or Nuendo, it doesn’t mean you cannot participate. But how you achieve the exercises I set will be up to you, and any shortcomings will become very apparent. That will also be a learning experience.

    I do not mean for this aspect to be elitist or expensive at all. And this is where you need to be careful: I am not advocating for you to go buy ProTools Ultimate and a whole lot of expensive hardware. I could cut sound for a film on a 10 year old laptop running a version of ProTools so old it works with an MBox.

    Do you need a recorder? Microphones? Maybe, maybe later, but again please don’t think I am encouraging GAS (Gear Acquisition Syndrome) – I much prefer the idea of PRACTICE over PURCHASE. If you have a computer, a DAW and a pair of speakers or headphones then you are good to go. And anything else can be considered as/when we come across it. As we will be working to picture a lot, I think a second screen is also very useful. But don’t go buying a new screen – running a cable to your TV may be all you need.

    Same for plugins – I am not going to try to sell you on any specific plugins. The plugins that come with your DAW are likely enough to learn basic techniques. When we get into more complex design, if I use less common software it will only be to show you why and when such things are useful.

    The only other necessities are your time and attention.

    Quote from THE FOLEY GRAIL by Vanessa Theme Ament

    It is not news to anyone that the Internet can be a toxic place. But I cannot state this strongly enough: this is a safe space. Sexist or racist language or any form of discrimination will not be tolerated. I consider myself to be a rational and caring person, with a strong sense of empathy. I also readily admit to having a slightly warped sense of humor. So if ever you feel offended by something I have written, or disagree with it, then I welcome respectful discussion, publicly via comments on the post or if you prefer, privately via email.

    Please bear in mind that the frequency of new lessons will depend entirely on my available time. Often the only way work is ever finished is due to a deadline. So there may be weeks at a time where I have zero availability for anything other than meeting my own deadlines.
    I am providing this course for free, and maybe a useful way of thinking about it is that you are students participating in the beta stage of course development. By the end of the year we will have travelled a long distance, discussing many aspects of film sound along the way. And you will have gained both some practical experience, and essential knowledge.

    If this course is of interest my best advice is:
    1. subscribe to RSS
    2. subscribe to the HISSandaROAR Mail list

    A quick note on the differences between these two:
    RSS is updated automatically, every time I publish a post. So if you want to know immediately when a new lesson has been posted then RSS is the best way. To read RSS I use and recommend the great (free & open-source) OSX and iOS app: NetNewsWire

    With regards to the HISSandaROAR Mail list, I am very wary of over-use. No one wants multiple emails in a week from the same company, as that starts to feel like spam. So the Maillist is primarily for library releases (max 1 or 2 a month) where I will also summarise and provide links to the lessons since the last email newsletter.

    But I want to do what works for you, so if you would prefer email notification for every lesson posted, please let me know in the comments and I will set up a separate EMAIL LIST for that purpose…

    UPDATE: ok enough people have requested this now. I will set up a separate Email List and will update this post with a subscription form once its ready. Thanks!

    Following this post in quick succession will also be two related EDU posts, CAREER ADVICE 1 and CAREER ADVICE 2. These are articles that I wrote and published at MUSICofSOUND blog back in 2010, and which I still receive appreciative comments & emails. So I have revised and updated these, and while aspects of them will be covered in greater detail in individual lessons, I believe they are essential reading, as they establish my values and my attitude to work: I do not believe in having a job. I believe in finding your vocation.

    I will also add an AMA post – ASK ME ANYTHING
    So if you have a specific question or a request for the course, then please feel free to comment there.
    Or if you prefer to ask privately and/or anonymously please use email

    As I mentioned, in my youth access to equipment was a major challenge. Computers didn’t exist yet, the Internet also did not exist. And a basic field recording set up (Nagra and mic) cost as much as a house deposit. But even worse, the means of manipulating and editing sound was totally inaccessible. To gain access to any sound equipment at all required a lot of study, and building experience and trust with those who did have equipment. Skills were earned the hard way, and reference materials were also difficult to access.

    Contrast that with now, the situation has completely reversed. A laptop and a handheld recorder are affordable. While advertising makes us feel we need the latest gadget, we do not. Gear is not the issue.

    And while the Internet has been provided an explosion of easily accessed information, it has created a different issue: who can you trust? Sometimes when I notice someone voicing big opinions online, I wonder who they are. With what authority do they speak?  If it is related to film sound then IMDB soon reveals the depth of their experience.

    But last year (2021) I had an experience on Twitter that really drove this point home. Before I describe it, a little of my background. My career has predominantly been as a sound editor and sound designer for film. I attended Film School in 1990 and in 1991 started work as a trainee sound editor at a studio that had bought the very first Digidesign Sound Tools in New Zealand, and then the very first ProTools. I have suffered through every version of ProTools since. By 1997 I was freelance and was sound designer on my first feature film (SAVING GRACE) Between then and 2014 I worked on 40 feature films, along with hundreds of hours of TV drama, and short films.

    Through all of my experience, and from observing and discussing other peoples work, I have a fairly good idea of how film soundtracks are put together. But on Twitter one day, a very experienced sound editor shared some insight to a recent project they had completed. They supervised a team of sound editors and described how they had assigned work to each sound editor. Specifically, they gave Sound editor 1 all of Reel 1 of the film to edit & prepare all sound effects, and ambiences. They gave Sound editor 2 all of Reel 2, Sound editor 3 all of R3 etc… Many people thanked them for sharing these insights, but no one questioned it.

    I read it & it stopped me in my tracks. I had never heard of anyone working this way, ever. That isn’t to say it’s not a potentially interesting idea. But in my experience, it is a very different approach to ‘the norm’. (Often one sound editor  is assigned to all Ambiences, another might do all vehicle FX, another might do all practical FX etc.. I will discuss in future why I consider this approach as preferable)

    Wanting to understand their motives, I politely asked a few questions but my first question was this:
    How common is this approach?
    The answer: very rare.
    No one they knew worked this way with a team.

    Can you see the problem?
    Someone with authority and experience shared their methodology, but without the context of revealing that it was a very unusual approach. It seemed that people accepted it as standard practice, when it definitely isn’t, as the author readily admitted when asked. I do not share this to criticise them, the reason I share this experience with you is due to what I consider an essential basis of what I am going to teach:


    The methods and techniques I will cover in this course are what have worked for me. But they are not universal truths. Some of them might be, but you should read and consider anything and everything I say, and decide for yourself if it is applicable to your work. What worked for me, may not work for you. You might know a better method, or you might discover one after trying what I suggest. Similarly the equipment I use has been chosen and evolved due to experience. But it is ‘only’ my experience.

    The pandemic has revealed how dangerous a lack of critical thinking can be, with some people disappearing down dubious rabbit holes while “doing their own research” and in some horrific cases, it has cost them their life.

    There are no shortcuts to anywhere worth going, and there is also no way to buy or download experience. You have to get it the same way I did, by being proactive and working hard, over many years. By being open to ideas, but also to develop critical thinking and questioning all assumptions.

    This is really an existential question. Why do anything?
    I personally consider film to be the ultimate art form, as it requires the best collaborative work from a huge group of people working at the top of their creative powers. If you add up the individual years of experience that all of the cast and crew have, and combined them into one entity, it would total hundreds of years of very diverse experience.

    Great films, brilliantly written, acted, directed, executed, and post-produced, all work to serve one purpose: to reach into the hearts & minds of the audience and engage them in an art form, storytelling, that dates back to the origins of our species.

    And I can share the moment that set me on my path. For reasons I won’t bore you, I started a degree in Electrical Engineering. I thought it had the potential for an interesting career. I was wrong. I freaking hated it, but I persevered. At the same time, I was also playing bass guitar in a band, and we managed to get a $500 grant to record & release a tape of our music. Thankfully no copies of that tape still exist, but that recording was the most fun I’d ever had. We didn’t have the budget to go to a studio, so we rented a Teac A3340 4 track reel-to-reel and our live engineer Bryce rented mics and a desk and we set up a temporary studio in our flat.
    Thus began the slow-motion process of dropping out of my studies. But one day at Uni a friend suggested I skip my lectures and come to a film screening. He was studying film and there was a screening of a newly released film… Naive, bored me tags along… And guess what happened? I had my life changed!

    The film was WINGS OF DESIRE by Wim Wenders. If you have never seen the film, then I cannot recommend it highly enough. But please treat it with the respect it deserves. What do I mean by that? Well, until I saw this film, my idea of cinema was 100% Hollywood. I’d seen Star Wars and everything else that was coming out of Hollywood, but WINGS OF DESIRE was unlike anything I had seen before. Brilliant cast and acting, iconic locations, incredibly beautiful cinematography but best of all: a story that required your attention on a deep existential level. This was no escapist super hero movie. I left that screening a different person.

    This was the late 1980s and I knew I could not make a living as a musician, but I had begun to borrow a Nagra & shotgun microphone from the Film Dept at Uni and had also bought a Yamaha SPX900, which had some basic sampling ability. I started to connect the dots, and the desire to work on films became my life’s mission. But how to get work?

    One day I saw an ad in the local paper, with two roles available at the Natural History Unit (a Government funded entity that produced nature documentaries) – one was for a field recordist, the second was for a post-production sound editor. OMG!!! I applied for both, and I managed to get an interview and travelled to Dunedin for the interview. But sadly I did not get the job. My lack of experience was the issue. Such is the catchcry of many young people: “I can’t a job because I have no experience! I can’t get any experience because I don’t have a job!” (This issue will be discussed in depth later!)

    But then something weird happened. I found out who did get the job! They were a friend that I knew well (hi Ray!)  and I knew he did some live music mixing etc… So why did he get the job and I didn’t? Eventually I caught up with him & asked and guess what his answer was? He had spent the previous year attending Film School!


    I researched the Film School he went to and the following year I applied. Now this particular Film School was clever in that every year they aimed to be able to put together a little film crew from the 20 students. So I applied and when I was interviewed they asked why I wanted to attend, my answer could not have been more honest or direct. I want to work in film sound!

    That year the School had 400 applicants. And out of those 400 applicants I was the only person who specified sound as my core interest! They confirmed me right then & there, and I spent 1990 at Film School and the following year managed to get a role as a trainee sound editor. And that was all the start I needed!

    1991 to 2021 is 30 years of hard work, and learning on every project. But I am also still that wide-eyed kid who just wants to mess with sound! I look around my studio now, with that kid’s determination in mind and I truly believe if you want it badly enough, you can achieve it. But it takes long-term thinking, commitment and a lot of hard work.

    I hope you will join me on this long-range sonic mission!

    For any feedback, questions or comments I have set up a seperate email address for this purpose.
    EDU at HISS and a ROAR dot com

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