Sound design, on Love Music More, is never separate from production: Luke's solo episode on Son Lux argues the two are the same decision, not consecutive steps, and Ashlee Chanelle extends that to Foley steps and notification tones shaping daily life without anyone naming them. His own records apply it directly, from the real crickets recorded into Little Hug to the field recordings built into I.
Every place sound design turns up across Luke F. Walton's work: 10 episodes, 3 more.
Songs, episodes, and writing this topic is about by title or tag.
Son Lux, Everything Everywhere All At Once, and How Sound Design and Production Connect Those Foley Steps with Ashlee Chanelle (Epidemic Sound) From the Sound Standpoint with Kelley Baker (Good Will Hunting, My Own Private Idaho, Finding Forrester) Music-Podcast Overlaps and The Fun of Surprise with Bryson Barnes (Head of Audio Production at NBC News) Spatial Audio, Mixing Objects, and Floating Overhead with Martin RiegerMentions it in the lyrics, notes, or body: adjacent, not the headline.
10ish Ways to FIGHT Writer's Block Building a Studio, Analog vs. Digital, and Mixing Rock Guitars with Ryan Haft (Snarky Puppy, OM, Torche) Heartquake Saga I Little Hug Of Signals and Systems with Nolan Lem (Sound Researcher and Auditory Artist) What is reverb and delay? Why "vibe" is my #1 musical goalSee also: all topics · song themes · podcast episodes