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Inspired Sound Design
  • Sounds Amazing draws from its deep background in immersive sound design to provide unique and engaging audio for a wide variety of projects. Over the years we’ve provided incredible sounds for a very diverse set of projects ranging from VR and surround theaters, to gaming systems and video games, music studios, world tours, ambient audio, tactile transducers, musical instrument samples and preset design. We have worked with transportation companies who design autonomous vehicles, commercial aircraft, the world's largest entertainment company and much more. Utilizing this extensive background that we like to refer to as the “Big Box of Crayons”, we pull inspiration from all of these experiences to provide amazing audio for just about any need



The Science Fiction Museum and Hall of Fame

For the Science Fiction Museum's "Fantastic Voyages" gallery, an immersive space station theme was imagined. After discussing the sound design for the space, we were informed that the playback system had already been specified as a 2 channel system. We designed a 2 channel system with overhead ambience and 25 haptic transducers to rumble the floor with the pulse of the space engines. The tactile experience, coupled with the theatric quality theming of the galleries, created a unique environment for visitor to explore many of the artifacts and attributes of science fiction.
We also created a futuristic utopian music-scape for "Brave New Worlds" which featured exhibits like the Matrix.
STAIRWAY 27 - A  transitional stairway was opened up to a new gallery and we were tasked with creating a custom soundscape to lead the visitor through that transition. A discreet 8 channel playback system provided the eerie, strange mechanical sounds behind the walls and the odd, sometimes disturbing sonic textures, floated up the stairway along it's 8 speaker channels. 

The Dr. Seuss Experience

A fun, immersive interactive experience for all of us Dr. Seuss fans. Nine classic Dr. Seuss books, presented in 9 huge rooms of this 25,000 sq foot traveling experience. Help the Cat in the Hat gather all the toys and place them back in the giant toy box before "Mother gets home" or the toy box explodes and the toys go everywhere again. Want to help find Whoo's? Our sound design helped the experience and the interactive application come to life!
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I took the film "No-A" and gave it my sound design spin. Her, I take a very tech heavy, aggressive approach.
My approach on Wire Cutters was a sparse and lonely sound which emphasis the stark environment and the lonely robot.

Oh yeah, We do Rock and Roll too!

Sounds Amazing has provided sound design in the studio and on tour, touring system design, custom designed musical instruments, and more to musicians to enhance their sound and their shows. Bands ranging from Motley Crue to Neil Diamond, Eurythmics to Zig Zig Sputnik, Yes, Madonna, David Lee Roth, ELP, Oingo Boing, Ozzy Osbourne, Julian Lennon, Beach Boys, REM, Poison, Cinderella, Robert Palmer, and many more.

We help make some of your favorite presets, working with companies like Rossum Electro-Music, 1010 Music, Dave Smith/Sequential Instruments, Dynacord, E-Mu Systems, Yamaha, Kawai, Simmons and our own sound libraries, Heavy Hitters Greatest Hits, and Heavy Guitars. Now available through Q-Up Arts. https://www.quparts.com

​Coming Soon - SP-1200 "SPlousion" Sound Bank for the Rossum SP-1200 and Original SP-1200 machines.

Robo-Toms Mechanized drums for the YES 35th Anniversary Tour

To commemorate the 35th anniversary of the progressive rock band “YES,” longtime collaborator and album designer Roger Dean was commissioned to design the stage. 
In Dean’s concept, he envisioned eight large bulbous drums that would emerge from the stage in front of drummer Alan White’s drum set during his drum solo in the band’s signature song, “Ritual.”
Alan White contacted Reek Havok to implementation and enhance Dean’s design. 
​Havok devised a system that employed a separate bus drum pedal to play two drums simultaneously, one on each side of the stage, and then cycled back around every four beats. Havok integrated his MIDI controllers into the lighting system within each drum, creating an extraordinary visual spectacle.
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