Issue link: https://digital.copcomm.com/i/1490686
the US, we have 24/7 coverage for our clients, so it helps us eliminate the crunch times. We have many plans we wish to accomplish, among others, we're hoping to get back into the world of movies while keeping our presence in the world of games/trailers and ads. CM: What roles do the four of you tend to focus on beyond the creative development of assets for the projects you are working on? SJ: Initially, running the company used to just be Chris and myself, and alongside projects, that would be a huge time sink. For the first few years, I was unable to take weekends off, which is certainly not a badge of honour—just the unfortunate realities of running an emerging small business alongside doing creative work. Now that there are four of us, the workload is far more evenly distributed, as we each run our own projects within the company, as well as have a hand in running the company itself. It works really well, and the collective experience between us means someone always has an informational nugget of gold or previous experience that can help drive confidence in company decision making. BM: I handle the day-to-day running of Sweet Justice Sound Ltd, Inc and Sweejtech—a bit of everything—legal, finance, planning, schedules, people, clients, initial POC, etc., plenty of Google sheets but in careful balance with "noises," old synths and effects:). CW: The natural growth of the company and making sure that we have a safe space for our entire crew where everyone can speak their mind without being judged. We constantly share ideas so that we can learn from each other. We always encourage everyone to ask questions. There are no stupid questions. Keeping the vibe family-esque is crucial for us. CM: Is there anything you would like to impart to the MPSE community to better understand game audio and how it will be affecting game audio practices going into the future. SJ: I think you're already seeing a lot of game audio style workflows drift their way into toolsets that are used regularly in linear post-production, but also a lot of tools like Reaktor, etc., have always had similar workflows. Game audio is in part inspired by the modern history of sound design, and linear post-production IS the modern history of sound design. Moving forward, I think you'll start hearing much cleaner game audio mixes, much more realistic modeling of acoustic environments, the line between real-time processing and offline plugin processing will no longer exist. I also think there'll be a big push in simplified workflows for mixing games. BM: With each generation of hardware (and people!), we make huge advances, but there is still a long way to go. As more and more tools are developed in a publicly available graph-based audio engine, like Metasounds, then I cannot help but see the offspring of these technologies making their way into all facets of the audio industry. CM: Thanks so much for Chris Sweetman, Samuel Justice, Ben Minto, and Csaba Wagner of Sweet Justice Ltd, spending time with us in describing your work and world with the MPSE membership! We look forward to seeing how your new! work shines on the audio community. Main ATMOS Stage Worthing, UK. 2022