Issue link: https://digital.copcomm.com/i/1524863
146 M PS E . O R G Could you start by telling us about your path into game audio? What drew you into this field? PH: It took several steps to get to where I am. I defaulted to a classical music degree at first because I was unsure what was available in music/sound for me. While there, I focused a lot on sound design for the theater program, which ended up getting me into a live audio internship before finally finding my way to Vancouver Film School. From the first game audio class, I knew without a doubt that I wanted to get into games. Being from a small town, there wasn't much information out there on what kinds A Sound Designer's Journey: BY GARRETT MONTGOMERY MPSE resley Hynes is a talented sound designer hailing from Cape Breton, Nova Scotia, and currently based in Edmonton, Alberta. With an educational background from Vancouver Film School and Mount Allison University, Presley has carved out an impressive career in game audio. Her portfolio boasts work on acclaimed titles such as God of War Ragnarök, Anthem, and Dragon Age: The Veilguard. Currently a senior sound designer with Gearbox Entertainment, Presley's expertise extends to creature audio and live sound design, reflecting her versatile skill set and passion for immersive audio experiences. of careers I could get, so it really took until my time studying audio that I realized this was a dream job I could have. Who have been your biggest influences or mentors in sound design, and in what ways have they shaped your approach to your work? PH: There are so many people that I'd love to name. Biggest influence must go to Paula Fairfield. My favorite thing to design is creatures, and the work she's done, particularly on Game of Thrones, is a massive inspiration to me. Not only that, but she's also from Nova Scotia (I'm from Cape Breton), and it is SO cool seeing someone from my part of the world doing this kind of work. Ben Burtt and his work, particularly on Wall-E, is next-level emotive audio design that I only wish to be able to emulate in my own work at some point. Someone else I must mention is David Hughes. He worked on a bunch of amazing films, and when I was first considering getting into audio more seriously, I wrote him an email and asked for advice on being a sound designer. He wrote me a novel of information in response, and I can't thank him enough for taking the time to do that. I don't know if I'd have been as confident in Presley Hynes P on Innovation and Artistry