Also available
Trailer Audio
A trailer has seconds to sound like your game. Score, sound design and mix cut to the edit, mixed to hold up in a loud hall and on a quiet phone speaker. Same approach for audio logos.
Start a trailer briefGame audio · Sound design · Original music
Game audio, handmade.
Sound design, SFX and original music for games, shaped with real recordings and built around the world you're creating. Available for commissions, from the first sound list to the delivered files.
Proof, in four sets.
Six sounds: a shop, a blade, ice, air, current. Five pieces of music from games and releases, field recordings straight off the recorder, and one creature asked to do four different things. Step through each set with the arrows; nothing plays until you press play.
What your game gets.
Book the whole sound, or the part you're missing. Either way you talk to the person who makes it.
The whole sound of your game
Game Audio
Your game should sound finished, not assembled.
See a whole game scored and sound designedImpact, feedback, character
Sound Design & SFX
An enemy has to sound dangerous before it deals damage.
How sound design works hereWritten to loop, not to impress once
Original Music
Music that carries the mood without drowning the gameplay.
Full versions, loops and variants
Sound libraries
Or just take the sounds.
Four released libraries, 1,616 recordings made in front of the real object and named to the Universal Category System. Two starter packs cost nothing.
- 4
- 1,616
- 2
- up to 192 kHz
Selected work.
Eight picked out of 66: games, a cinema logo, commissioned scores. Each one links to the project or to the case study behind it.
Runes & Revenue
Read the case study
Breach Protocol
Read the case study Under The Stars
Read the case study
Warpshift
Read the case study
Kino Solothurn
View on YouTube Trinity Heart
Read the case study
Commissioned scores
Read the case study
All You Can Roll
View on YouTubeWhere to go from here.
The rest of the site is the detail: how the work is made, what is for sale, and the archive behind the eight above. Nothing on this page needs you to read all of it.
- Sound design & SFX How a sound gets built here, from the object to the build.
- Fifty-six voices A whole creature roster, each one recognisable in about a second.
- Field recording Fifty-three takes at an air show for a handful of keepers.
- One cue, five ways The same theme written out five times so a client could pick by ear.
- UCS Tagger Desktop app that tags a folder of recordings, offline.
- How a project runs Five steps, what I do, and who you would be working with.
The studio
Small on purpose.
I'm Simon Wagner, a composer and sound designer in Dornbirn, Austria. Polarsound is a one-person studio, which means the person you brief is the person who records, designs and delivers. No handover, no telephone game.
I record my own field and foley material, and I build my own tools when the ones that exist get in the way, including UCS Tagger, a library organiser now used by other sound designers.
Tell me about your game.
Two sentences and a link are enough. You'll get a personal reply with first thoughts on your audio, not a form letter.