Working on the audio for Disney Speedstorm was both a privilege and a challenge. It’s not every day that an audio professional gets to creatively engage with the music and voices from Disney and Pixar films. Of course, the density of gameplay sounds (tires screeching, engines revving, etc.), music, and voices posed a significant challenge for achieving a clear and engaging audio experience. This project exemplifies how these elements must interlock harmoniously rather than function as isolated elements.
Music
At the start, our initial instinct was to stay true to the musical themes and motifs of these films. But as time went on, it became clear that a bold and slightly different approach was desired.
Rather than simply rearranging film songs, we built a unique musical universe. The original themes served as inspiration, prompting our composers to experiment with rock and electronic influences—more aggressive and energetic than what can be typically heard in Disney games.
Our composers explored several approaches:
- Integrating samples from classic Disney music into modern compositions (Mickey Mouse March, Monsters Inc.)
- Using original vocal performances with entirely new arrangements (Zero to Hero, Trust in Me)
- Reharmonizing familiar melodies to strike a balance between recognition and novelty (Beauty and the Beast)
Because music has to coexist with character voices and sound effects, we guided our composers to avoid overwhelming the audio space. Game music isn’t standalone: it must support gameplay and mechanics. Key considerations included:
- Avoid monopolizing certain frequency ranges. For instance, constant high volume hi-hats can obscure sound effects.
- Leave temporal space in the arrangement. Disney music tends to be melodic, but too much melody can crowd out other audio elements. Strategic use of less melodic sections helped maintain balance.
In arcade-style racing games, music plays a vital role in sustaining the game’s energy and sense of speed. That’s why our composers emphasized rhythmic intensity, even when tempos weren’t fast.
For this project, I wanted to create a “calm before the storm” moment right before each race, building anticipation, then bursting into energy when the countdown hit zero. I drew inspiration from a memorable experience at Disney World’s Rock ‘n’ Roller Coaster featuring Aerosmith’s music, where Disney Imagineers masterfully build suspense before launching into a musical thrill ride.
The game’s music received highly positive feedback from players, who appreciated the creativity and craft of our composers.
Sound Design & Voice Design
Disney Speedstorm features a high volume of simultaneous audio events: engines, skids, nitro boosts, character reactions, environmental elements, collisions, attacks, jumps, notifications—and sometimes up to eight karts at once, all layered over music.
We quickly realized that letting everything play at full volume would create chaos. So, we prioritized key sounds using a dynamic mixing system and removed redundant or fatiguing elements. For example, we cut constant tire sounds on asphalt, and ambient pads (like wind or, trees), which added clutter without value. However, we kept them in pre-race sequences to enhance the atmosphere.
We also focused on enhancing environmental animations to make the game world feel alive.
For in-race notifications, we used distinct sonic textures—such as synthetic sounds (saw, square waves)—to ensure they stood out. A good example is the specific tone used to indicate when the nitro gauge is full.
Overall, sound and voice design, like the music, were carefully crafted with clarity in mind, balancing time and frequency to ensure every layer was heard.
Disney Speedstorm was nominated for Best Sound Design at the 2024 Game Audio Awards. Being recognized by such a prestigious award was a tremendous achievement for our sound design team.
Mixing
Mixing this game was a monumental task. We approached it in stages, continuously adjusting SFX, voiceovers, and music, then revisiting the mix.
Disney Speedstorm is like a neon-lit arcade, with flashing visuals and layered sounds from all directions. Our job was to organize that joyful chaos.
Our goal was to make sure every critical sound could be heard without overwhelming players. That meant carefully carving space for each component by manipulating dynamics, frequency distribution, and timing.
We used compressors, sidechains, and auto-ducking. In the frequency domain, we stripped away unnecessary elements from each sound.
But even that wasn’t enough. We realized that:
- Long, repetitive sounds (like engine rumbles or tire screeches) could mask others and cause fatigue.
- Simultaneous playback of too many elements made the mix hard to follow.
- Alternating key sounds gave the illusion of completeness without overload.
We implemented a system where three major sounds would play in rotation. For example, during a karts sharp drift, engine volume dips. When nitro is activated, engine and tire sounds are lowered.
For one-off events—such as the cavern door opening in the Aladdin level or passing a giant clock in Beauty and the Beast—we brought those sounds forward, to deliver cinematic impact.
We spent countless hours fine-tuning. A single tweak could disrupt the entire balance we had worked hard to achieve. But through patience and teamwork, we reached a result we’re incredibly proud of. The mix of Disney Speedstorm stands out as one of the most challenging and rewarding projects of my career as an Audio Director.
Game Audio Insights 