Charles Deenen: Crafting Epic Sounds with Sonnox Plug-ins
From the explosive worlds of Star Wars Battlefront and Call of Duty to immersive VR experiences, Charles Deenen’s sound design skills are in high demand. With a career spanning iconic video games, theatrical trailers, and commercials for top brands like Audi and BMW, Charles runs his dynamic operation out of his home-based ‘Source Sound’ studio in sunny Woodland Hills, California. We caught up with him to discuss how Sonnox plug-ins are pivotal to his high-energy workflow.
A Pioneer in Game Audio
How did you get started in the gaming industry?
I was lucky enough to be one of the pioneers in game sound back in 1984. At the time, games were a niche market, with prices as low as ten dollars each. There were maybe 8 or 10 of us doing sound design professionally for games. In 1991, I moved from the Netherlands to the U.S. after being approached by a company that wanted high-quality audio for their games. I’ve been here ever since!
In 2003, I joined EA Games as Creative Director for audio on the Racing franchise and stayed there for nine years. Later, I teamed up with Tim, who had established Source Sound, a studio focused on feature film trailers. We expanded to include game audio, and it took off rapidly! Recently, we’ve added VR projects, collaborating with Jaunt, a leader in VR content. We’ve built a strong team of editors, sound designers, and mixers at Source Sound.
The Pro Tools Powerhouse
Can you tell us about your Pro Tools setup?
My studio setup is built around Pro Tools HDX3 with an Avid S6-M40. There are screens everywhere—it’s a bit of a cockpit! Our team uses Pro Tools HDX2 or Native, loaded with a wide array of plug-ins. Dialog clean-up is a big part of what we do, whether for films, games, or commercials. Sometimes, the raw audio isn’t ideal, especially from noisy sets or outdoor recordings. If ADR isn’t available, we rely on our tools to make the dialog shine, and Sonnox plug-ins are crucial in achieving that clean, punchy sound that stands out in trailers and cinematics.
Maximizing the Potential of Sonnox Plug-ins
Which Sonnox plug-ins do you rely on?
I use almost the entire Sonnox arsenal, but lately, the Sonnox Restore Suite has been a game-changer. The DeClicker is fantastic for removing unwanted clicks and transients, which can come from tiny particles like dust or sand interfering with recordings. We do a lot of car commercials where we need the sound to be pristine, and that’s where the DeClicker, DeBuzzer, and DeNoiser come into play.
The DeClicker is fantastic for removing unwanted clicks and transients
An interesting trick I use, called "bigganizing" (a term coined by Dave Farmer), involves the decrackle function in the DeClicker. It’s all about creating the perception of loudness. By gain-clipping a sound by 20dB and then running it through decrackle, you get this perception of distortion that makes the sound feel big and powerful without actual distortion. It’s perfect for making explosions, gunshots, or any sounds that need that extra punch!
Do you use the Sonnox Limiter as well?
Absolutely! The Sonnox Limiter and Inflator are staples in our workflow. The Limiter is on every game trailer mix—it’s unmatched in how it limits cleanly while also allowing us to push for extra volume. There’s truly nothing else like the Sonnox Limiter and Inflator on the market today. Combined with the Restore Suite, they’re essential tools for us.
Essential Tools for Big Sound
Sonnox plug-ins are incredibly versatile and powerful, offering solutions for everything from dialog clean-up to adding weight and punch to mixes. Whether it’s making a quiet sound feel huge or ensuring the clarity of dialog in a noisy environment, Sonnox has it covered. They are a must-have in my sound design toolkit.