Mentor My Mix - Podcast Ken Felton

Mentor My Mix Ep. 008 – Ken Felton: Game Audio Bound, From LA To The SF…

  • From Live sound and national touring to theater sound to assisting and running sessions in LA recording studios to the scoring stage at Universal Studios
  • Getting lucky with a gig in Editorial, laying in backgrounds and sound effects for TV shows and movies
  • Developing custom sound design for the Weird Science TV series
  • Getting exposed to working in Dolby Surround and using that experience to transition to the SF Bay Area Film and Post world
  • Being warned how that was going to be very hard in the Bay Area
  • Seeking council from engineers working at The Saul Zaentz Film center
  • Getting introduced to Murray Allen, a Chicago Ad legend, president of AES and founder of The Recording Academy (The Grammys)
  • Finding common ground with Murray that led to contract work with EA working on Wing Commander 3 and mixing on ADAT
  • Eventually being hired on the team with Don Veca, Rob Hubbard and other Game Audio industry legends
  • Going on to work on many sports titles. Figuring out the concepts of granular sound design for interactive sound
  • Meeting the memory challenges of early gaming consoles
  • Grinding 12 hour days, 80 hour weeks and building long-lasting relationships
  • Going from twelve years at EA to Sony in 2006 to work on the Socom franchise on the PS2 console and becoming Audio Director for The Godfather Project
  • Building a twelve-man audio team for an open-world game
  • The importance of engineering support in the audio design process
  • Porting to the second generation Xbox 360 with expanded memory and using the additional RAM to up-sample the effects for higher audio quality causing the game mix to sound off requiring each sound design event to be re-mixed
  • A deeper dive in mixing a game title
  • The many challenges of working on a “launch title”
  • The need to be agile, working with multiple departments, and meeting multiple deadlines and challenges
  • Supporting outside developers as a service team
  • Working on Sly Cooper with Greg Debearde and “becoming the audio team”
  • Working on Uncharted and The Last of Us by supporting “The Santa Monica Team”
  • Working with Dolby Pro Logic & Pro Logic 2 with EA sports out of Canada and then on the SSX Snow Boarding titles encoding four channel DTS for live, real time Quad mixing
  • Moving to a nice to have feature to a must have that enhances the experience and sales of the games
  • Detailed description of creating an immersive audio demo to compare three tools for immersive audio mixing: Dolby Atmos, FB 360, and Dear VR
  • Using the Dolby Atmos render to create a realtime Binaural mix
  • Differences in HRTF and headphones affecting the results of a mix

Check out Ken’s recent blog post for more detailed info and all three Binaural mixes side by side.

Opening Music Credit: LGTBLTS by Dylan Seligman from his soon to be released Game Music EP, Acronym.

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