Sound Designer

Sound Designer

Sound design is the process of specifying, acquiring and manipulating audio elements. It is employed in a variety of disciplines including film, theatre, music recording, live music performance, and computer game software development. Sound design most commonly involves the manipulation of previously composed audio, such as previously recorded music and sound effects. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A sound designer is one who practices the art of sound design.

The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun

Anthony Bellotti’s experience and passion for sound design goes back several years now. He has worked on radio commercials, independent films, corporate videos and video games for various companies, including: Bad Animals Seattle, Audio Post Philadelphia and Drexel University’s College of Media Arts and Design.

Whether you need a drone to build suspense, or a boom to complement a hover bike crashing into a watermelon cart, he can deliver. It takes a creative ear with technical understanding to do true sound design and Anthony keeps that in mind while working to deliver the highest quality work he can. He has immense experience in navigating Pro Tools and various sound effects databases such as Sound Miner and M-Soft, making the whole process even smoother.

To hear some examples of his sound design experience just hop over to the Demos page and check out his Post Production Demo Reel Video. Keep him in mind when you need quality sound design for your film, animation, video game, or child’s birthday party!


The sound designer is a principal member of the production staff, with creative authority equal to that of the film editor and director of photography. Several factors led to the promotion of sound design to this level:
  • Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. These systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides or behind the audience, required more creativity.
  • Directors wanted to realize the new potentials of the medium. A new generation of filmmakers, the so-called “Easy Riders and Raging Bulls”—Martin Scorsese, Steven Spielberg, George Lucas, and others—were aware of the creative potential of sound and wanted to use it.
  • Filmmakers were inspired by the popular music of the era. Concept albums of groups such as Pink Floyd and The Beatles suggested new modes of storytelling and creative techniques that could be adapted to motion pictures.
  • New filmmakers made their early films outside the Hollywood establishment, away from the influence of film labor unions and the then rapidly-dissipating studio system.
The role of sound designer can be compared with the role of supervising sound editor; many sound designers use both titles interchangeably. The role of supervising sound editor, or sound supervisor, developed in parallel with the role of sound designer. The demand for more sophisticated soundtracks was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors, that was required to realize a complete sound job with a fast turnaround. It is far from universal, but the role of sound supervisor descends from the original role of the sound editor, that of a technician required to complete a film, but having little creative authority. Sound designers, on the other hand, are expected to be creative, and their role is a generalization of the other creative department heads.