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Sonos is a leading American audio technology company that is best known for pioneering wireless multi-room audio systems, which make it easy for listeners to stream music and other content throughout their homes. The company continues to innovate, creating wireless speakers, home theatre systems, headphones, architectural components, and integrated home audio solutions that revolutionise how people listen and connect to sound.

Guest Writer

The packaging for Sonos Roam sets new standards in environmental sustainability without compromising on a premium aesthetic. Find out how Sonos prioritised the planet—and the unboxing experience—at the same time.

We all know the old saying about never judging a book by its cover, but in today’s world that sentiment feels less and less relevant. Whether we realise it or not, packaging plays a vital role in all of our lives: shaping global commerce, influencing how we use our products, and prompting difficult questions about the legacy we’re leaving for future generations.

Sonos thoughtfully considers how it packages its products—from crafting a simple, joyous unboxing experience to ensuring that its packaging prioritises ecological sustainability. The groundbreaking packaging system it developed and introduced with Roam offers a fascinating glimpse into how all of these complex threads weave together.

Michelle Enright, Head of Packaging Experience, has led Sonos’s packaging team since 2012. Roam’s launch represents the culmination of years of tireless work to refine the design, materials, and manufacturing processes involved. For Michelle, creating beautiful and tactile packaging goes hand in hand with reducing Sonos’s environmental footprint. “We wanted the unboxing to feel like it’s your birthday,” she says. “But the beauty of Roam’s packaging is that we didn’t need to sacrifice other priorities to achieve that. By making a few strategic trade-offs, we were able to get what we’d always dreamed of.”

“We always design with sustainability in mind,” she explains. “When I joined Sonos, we had one product which was packaged in paper pulp rather than less sustainable materials. But that created a precedent. We’d done it once, and it worked, so we knew we could do more.”

“For Roam, we wanted to set the bar higher and have as much of the packaging made from paper as possible. Our development focused on uncoated paper as a material driver during conceptualisation, progressing to sketches exploring surface treatments, then CGI mock-ups and, finally, working with our suppliers to bring it all to fruition.”

That conceptual phase included thinking not only about what Sonos’s packaging was made of, but also about what it said. “We looked at other packaging across the tech industry and saw a sea of samey black-and-white palettes,” Michelle explains. “We decided with Roam that we wanted a visual design system that moved away from that. Something we could own distinctly. But we always think about our packaging as part of a family,” she continues, “which means that Roam’s packaging also needed to live alongside our existing products.”

Michelle and her team aimed to create a design which would set Sonos apart, but also felt like a natural evolution from earlier branding, something which embodied the premium quality Sonos is known for and significantly reduced environmental impact. Part of what makes Roam’s packaging so special is the harmony the team found between those potentially conflicting goals.

“From the beginning, we wanted to find a paper that we didn’t have to laminate,” explains Michelle. “Most packaging that you’ll see in stores will have a plastic coating to prevent scuffs and fingerprints. It also makes those materials far less recyclable. We tested a number of off-the-shelf papers, but we ultimately created our own, working directly with a paper mill: we developed everything from the colour and smoothness to the way the paper wraps around corners.”

That process included understanding how the physical qualities of this bespoke paper impacted other aspects of the design process. “One of the challenges with uncoated papers is that they all react differently to ink,” Michelle continues, “so the visual system we created had to cater to the specific qualities of this new paper.” She shows off a huge A1 sheet printed with varying designs, ink colours, font types, and logos, underscoring the exhaustive process undertaken by her team to align Roam’s visual identity with the materials.

“Uncoated kraft paper isn’t generally considered premium, but we wanted to change that paradigm and create a tactile experience for our customers, so we used a foil stamp to create debossed and embossed areas around the box,” explains Michelle. “It’s things like that, combined with the feeling of the paper, the colour, the finish, the treatments, and the graphics, which make the finished product feel premium. If one of those things hadn’t come together for us, it wouldn’t have worked.”

That sense of quality is a huge part of Michelle’s work. She explains how her team devotes hours to thinking about where a customer will first make contact with the box as they lift it from a shelf, or the order in which they’ll unpack the contents.

Nowhere is this attention to detail more evident than in the question of environmental impact. Michelle’s team were able to use 100% sustainably sourced paper for Roam’s box—even the hanging loop on the top is made from paper fibres—completely negating the need for plastic foam, a far less environmentally-friendly substance. “Foam was never an option for us on Roam,” says Michelle. Even factoring in smaller elements inside the box for which plastic was the only viable option, like the product bag, the overall total for the packaging system is still 96.5% paper. A stunning achievement against an initial target of 85%.

In terms of what that means once Roam is being shipped around the world, Michelle’s team have already crunched the numbers and estimate that by the end of 2021, their redesigned packaging, applied across the product portfolio, will have removed 62,000 kilograms of plastic from Sonos’s supply chain.

Deji Olukotun, Director of Policy and Corporate Social Responsibility, is hugely proud of what Michelle and her team have achieved, and sees the reduction of plastic packaging as a crucial part of Sonos’s wider commitment to social impact. “Packaging is an area where we’re seeing a lot of success. It’s great to be able to hold Roam up as an example and celebrate Michelle and her team."

When Michelle’s team finalises a design, that isn’t the end of the process, but instead sparks a whole new set of possibilities. Deji explains that they will regularly go back and rethink old packaging designs: even something as simple as reducing the size of a box used to package an older product might enable us to fit more of them on a pallet or into a single shipping container, reducing their overall carbon footprint.

The impact of Roam’s packaging extends beyond Sonos, too: from sharing recycling data with scientific researchers to applying for a Forest Stewardship Council licensing trademark, with the goal being to display an FSC label on Sonos products by the end of 2021. “This is a really important signal that our packaging work isn't just greenwashing,” says Deji. “It's respected within the packaging business and by sustainability advocates, which helps set the bar even higher for the future.”

Ultimately, the future is what matters. The work undertaken by Michelle, Deji, and the team isn’t just about ensuring that products meet the needs of our customers today, but also preserving our collective tomorrow. When asked what motivates her, Michelle muses, “The greatest joy we have in our team is knowing that someone will open that box and love their product. But also, as a mother, I’m concerned about the future of the planet. In the end, it’s about making sure that we’re putting good things out into the world.”

Roam’s Packaging Represents a Premium Approach to Sustainability

Global Head of Editorial

Everything we make is intentionally designed to be easy to set up, control, and enjoy. But the Sonos experience can be as rich and multilayered as you’d like. To make sure you’re getting the most out of your Sonos products, we present the ‘Essential Guide’ series.

When we set out to create our second portable speaker, there was only one thing we 

 want you to do with it: leave it in your bag or a drawer. That meant we had to ensure that the experience was as impressive on the go as we knew it would be at home. The result: 

Whether you’re brand new to Sonos or a long-time owner, the ‘Essential Guide’ series is for you. If Roam is your first Sonos speaker, start from the beginning. We’ll take you through the entire Sonos journey step by step, from setting up Roam to some of the more advanced features possible when you group Roam with other Sonos speakers. If you’re a long-time owner, feel free to look around. Hopefully you’ll learn something new about Roam or rediscover features you haven’t used in a while. Ready? Let’s get into it.

As our smallest and most portable speaker to date, Roam was designed to be enjoyed outside the home. So when it came time to create Roam’s color palette, we naturally drew inspiration from the places you’ll listen and the stunning scenery you’ll see along the way. The result: Olive, Wave, and Sunset.

Influenced by lush landscapes, coastal beaches, and evening skies, Roam’s colors are the perfect addition to any listening on the go. Complement your outdoor style as you chase new experiences close to home or thousands of miles away. And when it’s time to return home, accent the interiors of your space with a shade that blends in or stands out.

If you prefer the simplicity of neutral tones, Roam is also available in Shadow Black and 

. When you’ve decided which color is best for you, it’s time to get set up.

Once you get a hold of Roam, the first thing you’ll need to do is 

. If you’ve already started your system, then you know how easy this is. With Roam, we’ve made it even easier.

The Sonos app automatically detects Roam and connects to WiFi in seconds. Just make sure Roam is turned on (by pressing the power button on the back of the speaker) or plugged in to power via the USB-C cable, and that you’ve downloaded the Sonos S2 app for 

. The app will walk you through a couple of steps, and in a matter of minutes, you'll be ready to play.

With Roam, we’ve created a groundbreaking packaging system that sets a new standard for our environmental sustainability. We removed single-use plastics from Roam’s box, document envelope, tear strips, and labels; developed a sustainably-sourced custom kraft paper; and replaced all internal components with paper pulp. According to Michelle Enright, Head of Packaging Experience, “We wanted the unboxing to feel like it’s your birthday.” 

You can learn more about our recent efforts and current progress in reducing the environmental footprint of our products 

Roam can be placed horizontally or vertically. When vertical, it has the smallest footprint of any of our speakers—less than 2.5 inches at its widest. And the shallow depth of Roam’s charging cable allows it to be placed as close as possible to a wall or in a corner.

Horizontally, Roam is designed for stability on uneven surfaces like grass or sand. Plus, the volume buttons are strategically placed to make sure that turning the volume up and down is intuitive, regardless of how it’s oriented.

The Sonos app is like having a control panel for your speaker (and your entire system) in the palm of your hand. Once you’ve learned a few simple icons, you’ll be able to navigate through the app easily. Find a complete tutorial on using the app 

Below are a few of our most popular features that will help you quickly find your favorites or discover something new.

Even with millions of songs, albums, books, and podcasts at our fingertips, we often find ourselves going back to those handful of favorites over and over again. Save them to “My Sonos” as you explore and then just tap the star icon in the toolbar at the bottom of your screen to quickly access all the content you love.

Tap the magnifying glass icon in the toolbar to search by artist, song, album, playlist, station, genre, composer, and more.

When you’re not sure exactly what you want to listen to, tap the music note icon at the bottom of the screen, and let 

 or your favorite music service lead you down a path of music discovery.

Sonos Radio is our free radio service for all Sonos owners. Access thousands of radio stations from around the world, listen to 

, discover new music, and enjoy original content free from the Sonos app. You can also preview stations and 

Tune in to Sonos Sound System, our signature station, to learn stories behind the music, find new artists, and hear the latest releases. Or check out exclusive stations curated by music icons including Thom Yorke, Brittany Howard, and Lorde. Follow 

 on Instagram for the latest, including fascinating deep dives into radio culture.

And if you want to listen in high-definition, ad-free, and with access to even more original content, including stations curated by Ghostface Killah, Björk, FKA twigs, and Blacksmith Radio, check out 

The Sonos system was designed to be flexible and adjust to the way you listen—not the other way around. And as omnipresent as phones are in our lives, sometimes it’s really nice to put them down and forget about them. But that shouldn’t mean the music has to stop too.

All of our speakers have touch controls that allow you to control your system without the use of the app. Here is a quick primer on how to control Roam using just the buttons:

Press once to put Roam to sleep and preserve battery life. Wake Roam by pressing any button when you’re ready to listen again.

Press and hold for two seconds until you hear the chime and the status light turns blue to 

 (Make sure you complete Roam’s setup at home beforehand.)

Press and hold for five seconds to completely power down Roam.

Press three times to replay the last track.

Press and hold until you hear the second tone to group Sonos speakers around your home.

Press and hold until you hear the third tone to use 

. With Sound Swap, you can send sound to and from your nearest Sonos speaker. (Think of it as if sound were a ball. You can throw the ball to a friend. Or, if they already have the ball, ask them to throw it to you.)

Press the + button to turn the volume up.

Press the - button to turn the volume down.

You know those moments when you’re listening to a song or watching a video on your phone and you realize that you want to hear it with great sound...immediately? 

 allows you to stream whatever is playing on your phone out loud on a nearby speaker. Although Bluetooth is incredibly convenient when you’re on the go, in general, it’s best to be connected via WiFi when you’re at home. Roam can automatically switch between the two, prioritizing WiFi when you’re within range of your home network.

But occasionally, there is content on your phone that cannot be played on your Sonos system via WiFi. Until now. Roam unlocks Bluetooth audio for your entire system. Just group Roam with other speakers and start streaming to Roam via Bluetooth. The sound will play on all of the grouped speakers.

Partial to a particular app? If you want to stream to Sonos without leaving your favorite app, you have some options.

Spotify, Audible, Amazon Music, Pandora, and other services all let you 

. Just look for the button that allows you to play to an external speaker.

And if you have an iOS device, including iPhone and iPad, or a Mac, you can play sounds from your favorite apps out loud on Sonos 

When you want to skip a song, turn up the volume, or extend your music to more speakers on your Sonos system, the quickest and easiest way is to use your voice. 

 offers you complete control of your system without lifting a finger. Simply say “Hey Sonos” followed by your request.

Plus, because Sonos Voice Control processes all requests locally (meaning that data is transcribed on the speaker itself and never sent to the cloud), you can enjoy limited playback controls while connected to Bluetooth, including pausing, resuming, and volume adjustments. So there’s no need to swim to the edge of the pool and sacrifice soaking your phone just to change the song.

If you want to add an extra layer of hands-free help for setting reminders or getting answers to questions, you can also use 

To make sure your voice control is on and ready to take requests, look for the white light on top of Roam. This signals that the microphone is on and your voice assistant is ready to respond. Not into voice assistants? The microphone light is hardwired, meaning that when you press the microphone button and the light goes off, you can be certain that the microphone is off.

While smart speakers are a convenient addition to any home, we understand that they’re not for everyone. 

 comes microphone-free so you can focus more on the music and worry less about privacy.

Roam is small. Its sound is not. That’s because we engineered it from the inside out to deliver astonishingly rich sound despite its compact size. The custom-designed racetrack woofer maximizes low-end output, while the high-efficiency neodymium motor increases power.

With sound, so much depends on the environment in which you’re listening. If you’re listening in a cozy room with thick carpet and tons of pillows, it’s going to sound a lot different than if you’re listening in a wide-open grassy field. Our auto Trueplay technology dynamically adapts the sound for each unique environment. This ensures that Roam sounds great no matter where you’re listening.

Stereo pairing is one of those terms that can sound really complicated and techy, but in reality, it’s just awesome. Here’s the basic idea: a lot of music is recorded with two channels—left and right. So let’s say a song is mixed with more guitar in the left channel and more bass in the right channel. When you listen to that song through a single speaker, the two channels are combined. You can still hear both the guitar and the bass, but with a bit less detail than you would if they had been kept separate.

But when you play that same song through two 

 (while on WiFi), you give it space and breadth. Ultimately, this allows you to appreciate the song with all the richness and nuance from when it was originally recorded.

Roam comes with a USB-C charger that fits snugly against the back of the speaker, whether vertical or horizontal. Or you can simply drop it on any Qi-compatible charger.

Roam can continuously play for up to 10 hours on a single charge. To get the most out of your battery life, open the Sonos app and make sure the 

 setting is on. This will automatically power off your speaker when it’s been idle for 30 minutes. When you’re ready to play again, just press the power button. (We recommend keeping Roam plugged into power when you’re home so that it’s always charged up and ready to go.)

, a custom-designed charging accessory for Roam, perfectly extends the speaker’s form, enabling charging without increasing footprint.

All charged up? Good, let’s go outside.

Smaller than most water bottles and weighing less than a pound (430 grams), there aren’t many reasons 

 to bring Roam with you when you leave the house. Throw it in a carry-on bag, stash it in a cup holder, or tuck it into a jacket pocket for great sound whenever you need it.

Roam’s concave end-caps serve three functions—preventing accidental button presses, providing a stable base when stood vertically, and increasing drop resistance. When in doubt, bring Roam.

With an IP67 rating, Roam is fully dustproof and waterproof, meaning that it can be submerged in one meter of water for up to 30 minutes. (And with tactile buttons, it’s easy to know which one to press—even when it’s wet.)

Leaky water bottles. Dusty trails. An unexpected dip in the pool. Roam plays on.

The Essential Guide to Roam

Once you get a hold of our new portable speaker, 

, you’re going to want to see what it can do. Here are three ideas to get you started—and three reasons why you’ll want to bring Roam along on all your future outdoor adventures.

The more time we spend inside, the more likely we are to forget how good it feels to be outside. The sofa is comfortable. Snacks are plentiful. The air is temperate. And we’ve got every song, film, show, and book at our fingertips.

But getting outdoors is like a reset for mind, body, and spirit. It reminds us that we’re alive and part of a planet that’s full of unexpected sights, sounds, smells, and sensations—all of which we’re walled off from whilst indoors.

With Roam, spending more time outside doesn’t mean having to give up everything you love about your Sonos system. Our newest portable speaker was intentionally designed to make listening on the go as easy as possible.

Spending time outside is self-care. So is listening to things that make you happy. We’ve come up with three excuses to get you outside and into the fresh air. And, three reasons why you’ll want to bring 

Outing #1: Gain Elevation with Meditation

If you regularly meditate or love getting out into nature, you know the benefits. Connection. Calmness. Clarity. (To name a few.) By combining both activities into one adventure, you can take the entire experience to another level.

For your first outing, consider taking Roam with you on a camping trip. (And if that’s not possible, take a hike on a local trail that’s right for your fitness level.) Once out in the wild, find a spot that’s safe and comfortable, and where you won’t disturb plants or wildlife. When you’re settled, play a guided meditation from an app like 

. (You may want to download the meditation in advance in case there’s no service.)

There are many different ways to meditate. To take full advantage of being outdoors, consider doing a meditation that emphasises mindfulness or paying attention to your surroundings. By listening to the guided meditation through Roam (versus your headphones) you’ll be able to meditate whilst simultaneously taking in the natural sounds and sensations around you.

Roam seamlessly switches between WiFi and Bluetooth, so it’s easy to send the meditation audio directly from your phone to Roam. And because the speaker weighs less than 500g, it won’t weigh you down if you have to do a bit of hiking to get to your campsite.

Tennis combines skill, fitness, and competition. It also presents a great opportunity to socialise outdoors with someone not in your pod. Now, we know that tennis requires intense focus, but unless you’re a professional player, it’s nice to be reminded that it’s just a game. Music can help loosen up the vibes and mellow the competition.

For your next outing, grab a racket, a tube of balls, and Roam (which, side note, conveniently fits into an empty ball tin), and challenge someone to an outdoor match. Choose music that puts everyone on the court at ease. This will create an atmosphere of friendly competition, inspiring appreciation for being able to play a game outdoors. (Our art director swears by upbeat 80s pop and yacht rock to create the best vibe.)

When vertical, Roam takes up very little space. So an out-of-bounds tennis ball is incredibly unlikely to knock it over. On the off chance you manage to hit it, don't worry. The durable design can handle your serve. When Roam is on the ground, the speaker’s triangular shape subtly directs sound upwards towards the listener. And no matter where you place it, automatic Trueplay dynamically adapts the sound for its surroundings, ensuring that Roam will deliver surprisingly rich sound even in an open-air environment.

When it comes to self-care, there are few activities more therapeutic than tending to a garden. Doing so means becoming an active participant in the creation of the fresh air we all depend upon.

For your final outing, consider bringing Roam with you to the community garden for a more mellow and introspective activity. Whilst you plant, water, and prune, you can catch up on some reading with a good audiobook. Nourish your mind with something nature-inspired like Richard Powers’s 

Roam is rated IP67, meaning that it’s waterproof and dustproof, and can easily weather an unexpected shower from a watering can. (Plus, it will prevent you from ever accidentally planting a wireless earbud.) And Roam’s tactile buttons make it easy to play, pause, skip, revisit, and adjust the volume, even when wet.

Roam was made to be the perfect companion when you want to get out of the house—whether it’s for an epic cross-country road trip or a relaxing afternoon at the park. It was also designed to integrate seamlessly into your Sonos system when you get home, ensuring that it won’t spend half its life in a backpack or drawer. Stay tuned for a future blog post in which we’ll share all the ways Roam can make your system even better. In the meantime, we hope Roam inspires you wherever and whenever you choose to listen. 

 is available starting 20 April. Pre-order now at sonos.com.

You Need Fresh Air. Bring Roam.

Lightsabres clashing. The roar of a TIE Fighter. Darth Vader’s breathing. Sound has been a crucial element of the 

 landed on screens in 1977. In this interview, production sound mixer Shawn Holden and supervising sound editor Matthew Wood share how the sound team behind 

 brought executive producer Jon Favreau’s unique vision for the series to life, whilst simultaneously rising to the level of quality expected from the beloved franchise. They also reveal what went into giving voice to 

First off, how would you describe your role to someone who isn’t familiar with sound production?

 Well, as a production sound mixer, you're the one that's on the set recording dialogue and various effects. My main goal is to preserve the actors' performances and get the cleanest dialogue recordings that I possibly can. Also, various effects and sounds that need to be captured whilst shooting—be it Stormtroopers marching along or anything that can help post-production build on those effects that we give them and give them an idea of what it sounded like on set. But really, my main goal is to get the cleanest dialogue tracks I possibly can, to record and preserve those performances.

 As the supervising sound editor, I work in post-production. I start pretty early on the project by reading the scripts and coming up with ideas for what will work for sound effects, creating things for these futuristic sci-fi worlds of 

. I take all of Shawn's amazing, crafted, brilliant work and tracks, and we bring them into post. Her tracks are one element of what we do, which is making it so you can hear the performances. Our characters have processing that has to happen. You know, there’s actors wearing masks, various aliens and dialects—all things that we change in post. And then we add in all the sound effects. We have a sound designer, and we build the show's soundscape around what Shawn has provided us. Then we build a soundscape around that. So I work with the showrunner and the series’ directors to ensure that all the beats in the script and what's been desired to be generated emotionally for the story is being pushed forward with the soundtrack. Then we bring all that material to our re-recording next stage, where we mix it all to make it sound as it should on your home system.

 It's our goal as a sound team to drive the story forward with what the director wants to convey, and we're a tool in the arsenal to make that happen. Sound has the ability to do that in a sort of subconscious and more emotional way. So that's what we're always striving to do. Perhaps the only thing different, being a 

 property, we will want everything to sound somewhat familiar. So we can take an episode of the original 

 video game, and a fan can pop in any one of those and there's going to be a consistent, high-quality mark across the board.

 compare to other films and shows within the 

How did you prepare to work on such a beloved property?

 There's a certain level of quality expected. This is 

 and it's iconic. And you're coming at it from this rich history. For me, a lot of my prep work was looking at costumes, seeing what would be animatronic and how we could possibly work from inside the helmets and masks. How do we get ahead of all of that? So when it comes down to shoot day, we are well prepared for whatever might get thrown our way, always able to get what we need in terms of clear, clean dialogue. I mean, the pressure was on, for sure, because we knew we had to bring the quality up to this level. That was my main concern. So we just did everything in prep that we possibly could. I went out to Legacy Effects where they do a lot of the practical creature work and costumes and figured out how we could put packs in the actors’ costumes and where we would hide mics and how we could build them in. We also designed an intricate communication system between actors that are in masks and helmets, and in animatronics earpieces—we call them earwigs—so that they could clearly hear the other actors speak. We have what we call the “voice of God” mic for the director to give direction to people in masks and helmets, which they can hear through their earwigs. We also set up speakers for the director or the assistant director to give direction to the crew and cast. There's a lot of groundwork, a lot of prep to be done. In the first season we didn't, at first, quite realise just how much we needed to do before we got started, but we made it all happen.

 The original films were so instrumental and I never expected to be working for the company that made these things. So it's still kind of a dream. The love for 

 is always there. Then the thing that always gives me new vitality on every project is all the new directors coming in and the new voices, including Jon Favreau and all that he's brought into the show. Also, being able to work with all the new picture editors and post teams that are working on 

 for the first time—you get to see how excited they are to be part of it. Star Wars still has that special feeling, so it’s wonderful to be around that energy with people feeling they want to put their best foot forward and do something that's going to be part of this legacy. I always try to bring new crew members to my team so I get to see their reactions, harness some of that energy, and then put it into the show. So that's always the new and exciting part. But we tried to work from that same aesthetic I had from George back when I was a kid, when I first started. And we're still at Skywalker Ranch and working every day in the very same locations that we did the original films, so that's pretty inspiring, as well.

What sort of challenges did you encounter during filming?

 In one of our shooting environments—what we call “The Volume”—the cast is enveloped and surrounded by massive LED screens. The minute I walked in the spacefor the first time, I was blown away. It was daunting. The structure of that space poses some challenges, with severe reverberance inherent in the space. But we came up with the solution. We called in an acoustical engineer that had developed a product, ZR Acoustics. They are specially-designed screens that didn't absorb or reflect the sound. Rather, it took the air that the sound travels in, and the screens would break it apart. Hence, breaking apart the sound reflections that we had in The Volume. Provided we could get the screens in the right position, they worked very well and saved our hide. It was pretty remarkable. But in the end, that is one of the things I'm actually most proud of on the show; considering the incredible environmental challenges that we faced in that space, we still managed to capture the cleanest tracks possible.

What sort of decisions did you make about how you would approach this particular series?

 I'd worked with Dave Filoni for 10-plus years on the 

 animated projects. So I knew his sound aesthetic, and I wanted to make sure that our crew members were people that would have worked with him before. I wanted to make sure we had a 

-heavy crew. So our wonderful recording mixers, Bonnie Wild and Stephen Urata, are both longtime Skywalker employees. I wanted to have them for sure, along with David Acord, our supervising sound designer. I'd worked with Jon Favreau as an actor a couple of times, but I had not worked with him as a director. He really embraced 

. And I could tell he loves using Skywalker sound as one of the components to make this track as 

. He really enjoys sound and has a lot of great ideas, and he came at it wanting realism in what we were doing. On some of it, he wanted an almost documentary-like feel. And so that's another reason why we're relying heavily upon the production sound. We want to create. We go to a lot of new worlds. We see a lot of new spaceships and creatures and hear alien dialects, so 

 is one of the core components of the soundscapes. I wanted to have a lean and mean team that had known 

 before and would be able to serve what Jon and Dave wanted, on the schedule that production had presented to us. Luckily, both Jon Favreau and Dave Filoni are very much into sound, so we got to have a lot of back-and-forth detailed collaboration about what's required and what feels good as an artist. Some other people might look at sound as more of a technical thing and they don't really give it quite as much. Then you’re kind of working in a little bit of a vacuum. But Jon and Dave are very engaged, and we do many playbacks and spotting sessions with them, which is always fun for the crew.

 is known for iconic sounds. What’s the process for creating or capturing those sounds and, in your opinion, what do they add in the series?

 I've been at Skywalker sound for about 30 years and we've been fortunate to keep the 

-only projects. So when you hear a TIE fighter, or a stormtrooper blaster—something iconic like that—it's going to be representative of our show. It's not like these sounds have been used elsewhere and given to many people, such that they don't feel special anymore. Some of the sounds were created by my mentor Ben Burtt some 40 plus years ago. George Lucas originally used to consider himself a sound person, as well. So he really gave a lot of time and energy towards the sound during the post process. We would have, sometimes, a year or more to start building libraries of sounds. I supervised all the 

 prequels with Ben Burtt, and we were given months to amass a library of all kinds of sounds—animals, creatures, machines, vehicles, atmospheres—to build soundscapes similar to what Ben had in the 70s and 80s. So that's one thing that I think that we have that's unique here at Skywalker, and we've carried through on 

. Likewise, our sound designer David Acord recorded a whole bunch of new material and brought it into this new show.

With all the time and attention you’ve put into the show, what advice would you give a fan who wants to experience 

 From my standpoint, having a multi-channel system with some kind of discrete output—so that you can put your dialogue in the centre channel—will give you the best experience. Then everything will sort of fall along in that you've got the dialogue in the centre and your music and sound effects in your left and right channels (or your surrounds, if you have them). That, to me, is number one. If you have that ability and luxury to have that type of system, I'd say go for it.

What of your work on the show are you most proud of?

 I'm most proud of being able to get clean dialogue tracks inside The Volume. It was not simple to do. But I'm proud that we got that. Also, our exterior backlot location had many environmental and acoustic challenges, as well. The main objective for me is to get the dialogue and preserve those performances, which is really what I love to do. That way, the actors won't have to go back and revisit a performance because of a sound issue. They won’t need to bring back the emotions and get back into that space in their head.

 on Atmos? How would you describe that experience?

 since the beginning, in different forms. I mean, sometimes we've done it as an afterthought. But we knew we were going to do it from the beginning with 

. So we really got to take advantage of that extra height and spread of everything. And we worked in that environment natively. Whilst Jon Favreau was working on 

 system for him that duplicated our mix room at Skywalker sound. So we were able to mix 

 at Skywalker and then have it in real-time for him at Playa. It was lovely. It was great. I mean, hearing it in that full amazing fidelity…everyone really enjoyed that process.

 I have a group of actors that I use for what we call the Loop Group, which is all the background players—aliens, Jawas, stormtroopers. It's a group of actors that are all big 

 fans, so we try to put in as many little quirky cameos as we can.

Can you share any fun facts about the sound production process?

 Our sound designer David Acord has certainly put his time into recording all kinds of new vehicles and machinery to make the soundscapes that you hear. He's also enlisted the sounds of his pets and even his voice to make some of the versions of The Child that you hear. For The Child’s dialogue, we've got the sound of a Kinkajou, which is this really interesting animal. It's a mammal that he recorded that has this great sort of trill sound. We wanted that character to have a sound that didn't just sound like a baby. You know, obviously it's like 50 years old, but we wanted to have a non-verbal personality. So Dave had to come up with that using samples. We use baby samples from a member of our picture editorial team along with these animal sounds that Dave put together. Also, Dave is an actor, as well, so he used his own voice to create some of that. So all those various components fused together to become the dialogue of The Child.

Matt, you started at Lucasfilm some 30 years ago. What surprises you most about the 

 Thirty years in…I love that George Lucas hired me as a teenager. I had some really crazy ideas about sound and how to integrate computers and nonlinear editing, and all that stuff. And he really backed me and some of my crazy stuff. He wasn't saying, “You can only do this one job. And that's what you do. And that's who you are.” He was always open to new ideas and experimentation and so those prequel movies were really fun for me as far as all the different technology we put in place. And the fans are super passionate all the time. I love that there are all these different generations of fans. I don't even know how many there are at this point…four generations? But people that have seen 

 get to show their kids and grandkids and everyone has opinions on what their favourite part of it is. I've worked across many of the different genres of 

, so I have dipped my toe in all the different fan experiences. I've also acted in some of the movies, so I've had the experience of meeting fans directly and seeing that energy, how it affects people. I love the fact that people are always talking about 

 and they always have opinions. And, as I said before, the one thing that really keeps me engaged is all the new faces coming in. I'm trying to hire as many new people as I can, so they can see it and have an opportunity to work with it. I got great opportunities at Lucasfilm, and I want to pass that forward now to younger generations.

. With dialogue isolated to the central channel, you’ll have enough space to appreciate the rich soundscape created by Shawn, Matt, and the rest of the sound production team on the show. A new season of 

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