Soundiron is a labor of love, jointly owned and operated by Mix Foundation TEC Award (2007) winning and BAFTA nominated Sound Designer/Audio Engineers Mike Peaslee and Gregg Stephens, and technology, scripting and systems wizard Christopher Marshall. Our vast catalog of deep-sampled instrument libraries is the result of many years of professional musical, sound design and recording experience. We’ve tirelessly worked on the production, design, recording, editing, scripting and programming of nearly 150 high-quality professional-grade deep-sampled virtual sample instruments over the course of our careers. But in the end, we’re just a small team of close friends that happens to do a lot of heavy production lifting and very little sleeping.
We specifically gear our libraries toward seasoned pros and working musicians in the film, television, advertising, video game, and music recording arts. But whether you’re an industry veteran or just a beginner, we commit ourselves to bringing all of our clients the same deep quality, outstanding customer service and unbeatable value. With over 80 unique products and new releases coming every month, you’ll always find something awesome here at Soundiron.
First and foremost, we’re a small workshop that specializes in designing, building and publishing premium, professional-grade virtual instruments. We’re widely known for our unmatched choral and percussion products, as well as our exquisitely captured pianos, solo voices, exotic and traditional folk instruments, ambient sound design and sound effect libraries. We also happen to cook up some of the strangest sound libraries you find anywhere in our Experimental, Horror and Metal categories, if you're looking for more eccentric sonic concepts to explore. We also offer custom location recording services within the greater San Francisco Bay area, with a focus on orchestral, folk and acoustic recordings.
In addition to being your hosts and tour guides through our vast galaxy of sounds, we’re also your dedicated support crew. You won’t find yourself bashing your head against your keyboard dealing with some clueless help desk robot or starving intern. It’s just us, when you need us. You’ll find no trained monkeys here.
Mike Peaslee is the founder and Director Of Operations at Soundiron. He's also a sound manipulation and instrument design junky, with a love and knack for recording anything and everything he sees.
He co-founded and co-owned Tonehammer Inc. from its inception in 2008 to its closing in 2011. Prior to that, he served for nearly 9 years as in-house Sound Designer for Crystal Dynamics (a Square Enix / Eidos studio), working on the Tomb Raider video game series, including Tomb Raider Legend, Anniversary, Underworld, Lara's Shadow and From The Ashes. He was also Lead Sound Designer for Snow Blind, Mad Dash, Lagacy Of Kain: Blood Omen 2 and sound designer for Whiplash, Legacy Of Kain: Soul Reaver 2, Legacy Of Kain: Defiance, 25 To Life, Battlestations Midway and many others. Mike specializes in virtual instrument and instrument sample library development, field recording, studio production, recording, post production sound design and foley. He's also skilled in cinematic post production sound design, mixing and scoring, as well as voice directing and acting for film, video games and animation. He's also a reasonably decent vocalist and percussionist and an avid studio construction and audio hardware and software research nerd.
In 2007, Mike won the Mix Foundation TEC Award for Best Audio in an Interactive Title as Sound Designer and Re-Recording Mixer for Tomb Raider: Legend. The game also earned a nomination for a 2006 BAFTA, GANG and GDC Choice Award for Best Game Audio.
Gregg Stephens is the Director Of Production and custom instrument inventor at Soundiron.
My obsession with sound was born out of my love for music. At the suggestion of a very close friend, I began taking guitar lessons at age 13. After almost a year of lessons, I realized my interest in music was far beyond guitar and gave up lessons, but I have never stopped playing.
I quickly became interested in all the behind-the-scenes aspects of music creation, production and recording. I experimented with whatever gear I could get my hands on, mini-cassette recorders, 4-tracks, amps, keyboards, effects pedals, terrible cheap microphones, anything. As my musical palette grew, I became even more fascinated with different instruments and recording techniques to achieve unique sounds. Once I finally got a hold of my first audio editing software, the game was totally changed for me. I could twist, warp, shape and mold any sound I wanted into fantastic new aural realms and that is truly where I feel I began as a sound designer and instrument library creator.
I spent years struggling my way through the video game testing world at Crystal Dynamics when the opportunity for me to join the audio department finally arose. The audio team was incredible and our efforts didn't go unnoticed. Tomb Raider: Legend was nominated for several prestigious audio awards including the BAFTA for best audio and brought home the 2007 TEC Award for best audio. But we weren't content to just work the regular 80-hour work-weeks one finds at video game companies. We spent our after-work time recording numerous objects and instruments in incredible depth with many velocity layers and variations. Initially intended for personal use, this led to a large collection of instrument libraries from which Tonehammer was born. As a part of many of the original launch library recording sessions, I completed my first library (a custom creation called the Cylindrum) for the company in early 2009. I continued doing contract work with Tonehammer through early 2010 when I joined the company full time, up until a month before it's dissolution on August 1st, 2011. Sound has become my life and what I identify myself with. I feel incredibly fortunate to be able to call the madness I'm obsessed with doing a job.
Chris Marshall is the Director of Technology at Soundiron and he's the mastermind behind the scripting, GUI programming and advanced features design for our instruments.
I love music, but never thought I would have a career in sound. After graduating from UC Berkeley with a BA in Mass Communications in 2008, I spent time throwing myself at the feet of potential employers. Little did I realize, that shortly prior to graduation, the field of journalism collapsed around the globe, so I enjoyed post-collegiate unemployment.
I joined Tonehammer in the middle of 2010 to script the legato system in Requiem Pro. I went on to design and implemented the majority of performance, articulation control and user interface systems for nearly all libraries released by Tonehammer from May 2010 until it closed in August 2011. Some examples of my system designs are: the polyphonic legato that was featured in the Requiem products as well as Liberis, the Phrase Builder in both of those products, the harp/normal play modes in Plucked Grand Piano, the pseudo-legato system in Bowed Grand Piano (which was included in later products), the voice capping control of Montclarion Hall Piano and the versatile Effects script seen in some of the last TH products. I also did most of the UI artwork for the Requiem libraries, and all of the UI artwork for Plucked Grand Piano and Bowed Grand Piano.
Sound design represents, to me, a wonderful amalgam of art and science. The process of creating a new library - brainstorming, researching, building, recording, editing and programming - allows me to exercise both sides of my brain, something that is rare to find in a career. In short, I fucking love my job.
Spencer Nunamaker is an audio editor and sound designer for Soundiron.
An ancient prophecy has foretold of a meddling synthesist, whose monstrous incantations would mistakenly summon a great and terrible beast from beyond the void, raining misery and destruction down upon this mortal coil. I think I met him once, he was a total dick! I, on the other hand, spent two years in Miami studying classical guitar and composition. At the time I knew nothing about recording music, but I really wanted to share my music online. I got some cheap equipment and down the rabbit hole I fell. It didn't take long for me to decide I wanted to pursue composition further, so I left sunny shores for slushy subways. Berklee College of Music in Boston!
During my time there I scored a handful of iOS games and short films. Since samples are such an integral part of being a modern composer, I became interested in putting together my own Kontakt instruments. I never considered it as a career, it was just a hobby I was passionate about. Lo and behold, experience with sampling plus my musical training were enough to land me some full-time gigs doing just that. After school I started editing full-time for various companies before being welcomed into the fold here at Soundiron. It is extremely satisfying being able to work with such great people who are as passionate about creating great libraries as I am, and hold themselves to such a high standard with the work they put out. I've never felt more creative, and my passion for editing and sound design are in full-tilt.
Jan Michael Hoeglund is the Manager of A&R and Distribution for Soundiron.
Music has been a constant compass throughout my entire life. I picked up the guitar at six-years-old, and it didn’t take long until I decided I wanted to pursue a career in music. When I think back about those defining moments that solidified that dream, I remember two key experiences at around age ten: Hearing a Slash solo (I'm pretty sure it was the Sweet Child O' Mine one) and listening to John Williams' scores for Star Wars and Jurassic Park for the first time.
After graduating from Bonn University in Germany with a graduate degree in English/Chinese Translation, my wife and I moved to her hometown of Washington, DC, where I began working at Outerloop Management, an artist management agency, as the day-to-day manager for the CEO's clients. It was an incredible experience working with bands like Periphery, We Came As Romans, Darkest Hour, The Word Alive, and Refused, among many others.
During my time at Outerloop I had the opportunity to play session guitar on some video game soundtracks and I realized that I was still drawn to the world of film/game/tv/trailer music. So, in early 2012, I accepted an opportunity to start working in the world of sampled instruments, and I haven’t looked back! Working with the Soundiron team is incredibly inspiring and sonically moving. They are simply an awesome bunch of guys to work with.