Sound Design

Original Music

Surround Sound Mixing

Foley

ADR

Voice Casting

Phone Patch

Laybacks

Digital Library

The magic of sound design goes beyond layering sounds into scenes to boost realism, tension, humor, excitement or drama. Indeed, the art is in creating the perfect balance of authentic sounds that never pulls the viewer out of a scene. Bad Animals® sound design pros have been working within those artistic guidelines for years with credits including award-winning films, television shows and radio ads as well as a host of interactive titles.

Music has the ability to push the emotion of a scene in a hundred hidden ways, making the viewer laugh, cry or tense up with a subtle instrumental tweak. Bad Animals® composer Tom McGurk relishes the challenge and has added his unique original music beds to a host of projects that includes feature films, television programs, video games and advertising spots.

Creating a soundscape that immerses an audience without becoming obvious is one of the more challenging jobs any sound professional will ever face. After all, every piece of dialog, sound effect and music must be heard clearly while conveying an emotional message. It’s a talent the Bad Animals® staff has been perfecting since stereo gave way to 5.1 and continues to learn about as more channels are added to the sound field.

Foley artists and recordists are charged with adding realism to a scene with carefully crafted sounds, from door slams to footsteps to glass breaks. The art form provides viewers with aural touchstones, no matter if the intent is to laugh, cry or cringe. Bad Animals® includes Foley artists and recordists on its staff to insure that every step, crash or slam is true.

While the right technology is a must — and Bad Animals® is well-stocked with the best pieces — the magic of ADR happens when the talent and the engineer create an inspired, clear and dynamic track that seamlessly fits into the original scene. From features to television, the engineers at Bad Animals have cleaned, matched and delivered additional dialog tracks for projects whether the talent is in-house or at a remote location.

Perhaps the medium is the message, yet the message is much easier to understand when delivered by a professional who can convey authority, passion, whimsy or a combination of all. Bad Animals® can tap Seattle’s best voices to insure that any message — from radio spots to interactive voice overs to corporate video narration — is heard and understood.

 

Visit Seattle’s Best Voices

Things move fast in the post production world and it’s imperative to be in touch with talent and engineers in a snap.  Bad Animals is equipped for in-session phone patch conferencing to ensure that a session runs smoothly no matter where the principals are located.

Contact Wendi Wills for more information.

Bad Animals® has a well-stocked machine room that can handle laybacks to a number of formats, including Beta SP, Digital Betacam and Digital Video Tapes. Contact Wendi Wills for more information.

The digital library at Bad Animals® is stocked with millions of sound effects and music tracks, providing sessions with just the right sound at a moment’s notice. Contact Wendi Wills for more information.

Seattle is one of the hottest theater towns in all of the nation and Bad Animals® has built relationships with the most talented voices in town, casting them for projects that include national and local commercials, video games and corporate videos. Beyond Seattle, Bad Animals® has an extensive national roster of voice talents that can be available for a session with just a few button pushes and mouse clicks. Bad Animals® can negotiate project fees for any project. So, no matter the need, Bad Animals® can find the right voice for you. Geographical boundaries no longer limit our, or your, creativity. Select “Men” or “Women” from the menu above to preview Seattle’s Best Voices!

Placing noises into a soundscape is one thing, placing them so they sing is quite another. Dave Howe, who played in a band through college, approaches his mixes as if he’s playing a song. “There’s musicality involved in any film,” Dave says. “There’s an ebb and a flow with words in a script, the actors and the camera. It helps to have that innate sense of timing and melody to create an emotional quality to what I’m mixing.”

Dave’s been doing just that for dozens of years now and his credits include Oscar-nominated films, award-winning television programs as well as corporate videos, advertising spots and interactive projects.

He came to Bad Animals in 1994 after spending years working in Phoenix, Salt Lake City and Orlando. Five years later he became a co-owner. “We bought our jobs,” he admits with a laugh. “More than that, though, it’s made us all more driven and conscientious to do good work. I’m really proud of where we are and where we’re going.”

Drop a line: dave@badanimals.com

Mike McAuliffe got his start at Bad Animals® in 1992 answering phones. “I moved up to do some engineering and things started to turn around,” Mike says. “There was a point early on when I said, kidding, that I would probably own the place in five years. It took seven years, but I did it. I guess you could say it was a childhood dream.”

Mike originally started at Bad Animals® because the facility was (and still is) working on everything from films to games, television shows to radio ads. “I never wanted to work anywhere else, because nobody else was doing the projects that we do. I’m always interested in what we’re doing,” he says. “It feels like I’m always learning something that makes me better at what I do.”

The Bad Animals® resident sound design expert, Mike has worked on hundreds of television shows and advertising spots as well as dozens of films. His credits include “San Quentin,” “Bounty Hunters,” “Bill Nye the Science Guy” and the film “Outsourced.”

Drop a line: mike@badanimals.com

When Tom McGurk was five years old he marched in front of his mother, announced that he had written a song and then hummed it for her. The problem? “I had just heard it on the t.v.,” Tom admits laughing. “I was sure that it was my idea.”

Ever since then Tom has made sure he’s original by pushing the envelope and dropping music cues that run from classical to hip-hop. “I’m not interested in being pigeon-holed,” he says, “and I love writing a ton of music that can be used in a hundred different places.”

Tom came to Seattle in 1990, bringing with him a music education from the University of Massachusetts-Lowell and a collection of ideas ready to go. His work at Bad Animals® has included Emmy Award winning work on the television programs “Bill Nye the Science Guy” and “Many Faces, Many Voices.” He’s also added music to films, corporate videos, infomercials and dozens of kid’s video games.

Drop a line: tom@badanimals.com

From her seat as studio manager, Wendi Wills has a hand in every project that comes through Bad Animals®. “I love it,” she exclaims. “There’s such a variety of jobs that come through our doors. The challenges are always new, plus the personalities that come in here are just great to be around.”

Wendi serves as the Bad Animals® liaison between producers and the studio, setting the schedules, creating the budget and handling the billing. “Every project has a flow and I manage that,” she explains. “What’s consistent is that everybody wants a smooth and seamless process, so that’s my objective.”

In addition to managing the studio’s organizational work, Wendi handles any vocal casting needs for interactive, corporate video or advertising projects. Her most prominent voice casting projects include work with Nintendo and Sucker Punch Productions.

Drop a line: wendi@badanimals.com

“Be nice to everyone!” is Julie’s first piece of advice to anyone looking to break into any industry. Julie is the latest addition to the Bad Animals team after her mentor and executive producer Larry Estes (then a professor at the University of Arizona) recommended her. Her appreciation for audio started with short films during her time in Tucson, joining a ragtag group of students in an independent study course. “It was just me and a couple of guys just trying to figure this whole ‘sound thing’ out,” she explains. Julie moved to Seattle early September of 2014 and since then she hasn’t been short on learning opportunities as the Production Assistant. “Since so much of what I’ve done in the audio world has been from a self taught trial-and-error, I feel like I learn so much just from breathing the air here.”

Drop a line: julie@badanimals.com

David Gallander takes one second to reply as soon as you notice he shares a birthday with one Elvis Aaron Presley. “Stephen Hawking, too,” he says with a laugh. “Elvis always comes up first, but I dig the Hawking link.”

So, add rockabilly and black holes to the list of things you can talk to David about while working at Bad Animals®. Alternatively, you can ask about his stint in Hollywood mixing radio and television spots for features such as “Taken,” “New Moon” and “Invictus” or recording catchy announcer copy for the blockbusters “Avatar” and “Green Zone.”

No matter the project’s grandeur or simplicity, David’s sole aim is to create an attention-grabbing track. “I love the challenge of finding just the right blend of sounds,” he says.

“Ultimately that’s what makes it a successful project.”

Drop a line: davidg@badanimals.com.

Perhaps one of the most unique rooms in Seattle, the Red Room at Bad Animals® has been the launch pad for hundreds of commercials, television shows, corporate videos, ADR sessions and interactive projects. The Red Room control room is a stunning feat of design, with a blend of wood, fabric and cork giving a throwback vibe, as well as technology. The room was built carefully, with specific attention given to acoustics and comfort. The Red Room recording area is the largest in the facility, making it the go-to room for ADR, group voice and Foley sessions.

View Studio 360º in Google Maps

Odds are you’ll be tempted to duck and cover when walking into the Blue Room, considering this is where Bad Animals® mixers throw sounds from front to back and left to right on a wide variety of surround sound mixing projects. The Blue Room is one of the most technologically advanced at Bad Animals®, boasting crystal clear monitoring and tight acoustics that earned the facility the tough to earn Dolby Digital certification. At the same time, gear is not the focal point. In fact, the Blue Room was designed with comfort in mind and producers are able to work in here without watching the clock.

View Studio 360º in Google Maps

The Green Room is the workhorse room at Bad Animals®, designed specifically to give sound designers and producers the space to work hand in hand. Ever since the room was opened in 1998, our sound designers have provided unique soundscapes for television shows, feature films, corporate videos and advertising campaigns. The technology in the Green Room, including a high-speed network where sound effects are available with a mouse click or two as well as some of the best post production gear available, enables work to be done efficiently.

View Studio 360º in Google Maps

The Purple Room is one of the newest spaces at Bad Animals® and it’s one of the most flexible, with a workstation that boasts speed and flexibility, monitoring that enables pinpoint reference checks and a vocal booth for quick voice over projects. The room is often used by a select list of freelancers who need to present their work to clients in a professional studio setting. If you’re interested in becoming an approved Bad Animals® freelancer, contact Wendi Wills at wendi@badanimals.com.

View Studio 360º in Google Maps

 

Northwest native and entrepreneur Charlie Nordstrom became a partner in Bad Animals® two years after purchasing Studio X, a renowned music recording studio located next door to Bad Animals®.

Much like his time at Studio X, Charlie enjoys being surrounded by talented people. “Our crew and the people they work with are so creative and have such an ear for detail.”

He is confident that Bad Animals® has been successful because “we make the process very simple and straight forward. We have great talent and we have the best gear, and above all else our level of service is unparalleled.”

Drop a line: charlie@badanimals.com

Bad Animals
2212 4th Ave
Seattle, WA 98121

Phone.
206.443.1500

Toll Free.
800-236-5544

Fax.
206.441.2910

Email.
info@badanimals.com

 

Employment Opportunities:
We currently do not have positions or internships available.

 

Bad Animals History

As it stands today, Bad Animals® bears little resemblance to Steve Lawson Productions, a small 8-track analog studio opened by local radio personality Steve Lawson in 1979. There are new owners at the helm, the company is in a new building, the recording rooms have been updated and the focus is now exclusively on audio post production for film, television, video game and corporate video. Yet, the team of audio post production professionals working at Bad Animals®, lead by co-owners Dave Howe, Tom McGurk and Mike McAuliffe with Charlie Nordstrom, have retained the corporate philosophy of providing creatives from all over the world with renowned inspiration and service.

The team has brought that philosophy to life on a wide variety of projects, including feature films, television programs, advertising spots, games and corporate videos. The evolution from Steve Lawson Productions to Bad Animals® started in 1990 when the facility was moved to its current 4th Avenue location. Shortly after the move the business was expanded to include Studio X, one of the most noteworthy recording studios in the nation.

Indeed, when Studio X was a part of the facility bands and artists like R.E.M., Soundgarden, Johnny Cash, Nirvana, Heart and Danny Elfman could be found roaming the halls. At the same time, a bevy of creatives were coming into the facility’s studios looking for post production services and Bad Animals® became the destination of choice when they were looking for that special touch.

Bad Animals® split from Studio X in 1997, although the two facilities continue to share gear and answers calls for help when necessary, to concentrate on audio post production work. During the conversion, each of the five rooms in Bad Animals was upgraded to the best and brightest audio post production gear available at the time. Of course, the facility continues to keep up with technology and bring in whatever will make their sessions more manageable.

In 1999, Steve Lawson put the facility up for sale and Howe, McGurk, McAuliffe and Charlie Nordstrom became the new owners of Bad Animals®. More than anything else, the quartet made the move to further cement their connection to the Pacific Northwest and to service their existing clients. Thanks to the continuing boom of work, the Bad Animals® staff has continued to grow and evolve. Indeed, the roster of talent now includes engineers Sam Gray and Jamie Hunsdale, as well as a host of networked pros who contribute to sessions that are being worked on in Seattle.

It’s been nearly 30 years now and the team at Bad Animals® has built a success story in the Pacific Northwest. A bevy of awards and accolades have been added to the shelves in the lobby, clients continue to bring dynamic projects into the studios and the phones continue to ring with local talent checking to see what’s happening here.

Yet, the team is always looking forward to see what they can do better, what envelopes they can push and how they can add to the vision of creatives from around the world.

 

Music has the ability to push the emotion of a scene in a hundred hidden ways, making the viewer laugh, cry or tense up with a subtle instrumental tweak. Bad Animals® composer Tom McGurk relishes the challenge and has added his unique original music beds to a host of projects that includes feature films, television programs, video games and advertising spots.

Indeed, McGurk can often be found tucked into his creative kitchen bouncing between keyboards, samplers and guitars while looking for just the right vibe. Classical? Rock? Hip-hop? Not a problem. A mish-mash of all three? Even better. “I love the Beethoven to Biggie Smalls approach to my job,” he says. “I’m hired to bring out the music that people hear in their head and sometimes that’s all over the place. My greatest joy is listening for the emotion that a client is to convey, coming up with a piece that answers the challenge and then watching their face light up when I hit it.”

Sound Design

The magic of sound design goes beyond layering sounds into scenes to boost realism, tension, humor, excitement or drama. Indeed, the art is in creating the perfect balance of authentic sounds that never pulls the viewer out of a scene. Bad Animals® sound design pros have been working within those artistic guidelines for years with credits including award-winning films, television shows and radio ads as well as a host of interactive titles.

Original Music

Music has the ability to push the emotion of a scene in a hundred hidden ways, making the viewer laugh, cry or tense up with a subtle instrumental tweak. Bad Animals® composer Tom McGurk relishes the challenge and has added his unique original music beds to a host of projects that includes feature films, television programs, video games and advertising spots.

Surround Sound Mixing

Creating a soundscape that immerses an audience without becoming obvious is one of the more challenging jobs any sound professional will ever face. After all, every piece of dialog, sound effect and music must be heard clearly while conveying an emotional message. It’s a talent the Bad Animals® staff has been perfecting since stereo gave way to 5.1 and continues to learn about as more channels are added to the sound field.

Foley

Foley artists and recordists are charged with adding realism to a scene with carefully crafted sounds, from door slams to footsteps to glass breaks. The art form provides viewers with aural touchstones, no matter if the intent is to laugh, cry or cringe. Bad Animals® includes Foley artists and recordists on its staff to insure that every step, crash or slam is true.

ADR

While the right technology is a must — and Bad Animals® is well-stocked with the best pieces — the magic of ADR happens when the talent and the engineer create an inspired, clear and dynamic track that seamlessly fits into the original scene. From features to television, the engineers at Bad Animals have cleaned, matched and delivered additional dialog tracks for projects whether the talent is in-house or at a remote location.

Voice Casting

Perhaps the medium is the message, yet the message is much easier to understand when delivered by a professional who can convey authority, passion, whimsy or a combination of all. Bad Animals® can tap Seattle’s best voices to insure that any message — from radio spots to interactive voice overs to corporate video narration — is heard and understood.

 

Visit Seattle’s Best Voices

Digital Studio Link

Music and vocal talent from around the world is available to work on any session with the use of digital studio link technology. The Bad Animals® machine room boasts CDQ 2000, which is compatible with Telos Zephyr, and APT/3D2 boxes, so sessions can be sent to and from our Seattle location with a flip of a switch. Contact Wendi Wills for more information.

APT/3D2
206-728-4169
206-728-4299
206-728-4359
206-728-4498
206-728-4559
206-728-4889
Telos Zephyr
206-728-1946
206-728-8750

Phone Patch

Things move fast in the post production world and it’s imperative to be in touch with talent and engineers in a snap.  Bad Animals is equipped for in-session phone patch conferencing to ensure that a session runs smoothly no matter where the principals are located.

Contact Wendi Wills for more information.

Laybacks

Bad Animals® has a well-stocked machine room that can handle laybacks to a number of formats, including Beta SP, Digital Betacam and Digital Video Tapes. Contact Wendi Wills for more information.

Digital Library

The digital library at Bad Animals® is stocked with millions of sound effects and music tracks, providing sessions with just the right sound at a moment’s notice. Contact Wendi Wills for more information.

Client

Seattle’s Best Voices

Seattle is one of the hottest theater towns in all of the nation and Bad Animals® has built relationships with the most talented voices in town, casting them for projects that include national and local commercials, video games and corporate videos. Beyond Seattle, Bad Animals® has an extensive national roster of voice talents that can be available for a session with just a few button pushes and mouse clicks. Bad Animals® can negotiate project fees for any project. So, no matter the need, Bad Animals® can find the right voice for you. Geographical boundaries no longer limit our, or your, creativity. Select “Men” or “Women” from the menu above to preview Seattle’s Best Voices!

Dave Howe

Placing noises into a soundscape is one thing, placing them so they sing is quite another. Dave Howe, who played in a band through college, approaches his mixes as if he’s playing a song. “There’s musicality involved in any film,” Dave says. “There’s an ebb and a flow with words in a script, the actors and the camera. It helps to have that innate sense of timing and melody to create an emotional quality to what I’m mixing.”

Dave’s been doing just that for dozens of years now and his credits include Oscar-nominated films, award-winning television programs as well as corporate videos, advertising spots and interactive projects.

He came to Bad Animals in 1994 after spending years working in Phoenix, Salt Lake City and Orlando. Five years later he became a co-owner. “We bought our jobs,” he admits with a laugh. “More than that, though, it’s made us all more driven and conscientious to do good work. I’m really proud of where we are and where we’re going.”

Drop a line: dave@badanimals.com

Mike McAuliffe

Mike McAuliffe got his start at Bad Animals® in 1992 answering phones. “I moved up to do some engineering and things started to turn around,” Mike says. “There was a point early on when I said, kidding, that I would probably own the place in five years. It took seven years, but I did it. I guess you could say it was a childhood dream.”

Mike originally started at Bad Animals® because the facility was (and still is) working on everything from films to games, television shows to radio ads. “I never wanted to work anywhere else, because nobody else was doing the projects that we do. I’m always interested in what we’re doing,” he says. “It feels like I’m always learning something that makes me better at what I do.”

The Bad Animals® resident sound design expert, Mike has worked on hundreds of television shows and advertising spots as well as dozens of films. His credits include “San Quentin,” “Bounty Hunters,” “Bill Nye the Science Guy” and the film “Outsourced.”

Drop a line: mike@badanimals.com

Tom McGurk

When Tom McGurk was five years old he marched in front of his mother, announced that he had written a song and then hummed it for her. The problem? “I had just heard it on the t.v.,” Tom admits laughing. “I was sure that it was my idea.”

Ever since then Tom has made sure he’s original by pushing the envelope and dropping music cues that run from classical to hip-hop. “I’m not interested in being pigeon-holed,” he says, “and I love writing a ton of music that can be used in a hundred different places.”

Tom came to Seattle in 1990, bringing with him a music education from the University of Massachusetts-Lowell and a collection of ideas ready to go. His work at Bad Animals® has included Emmy Award winning work on the television programs “Bill Nye the Science Guy” and “Many Faces, Many Voices.” He’s also added music to films, corporate videos, infomercials and dozens of kid’s video games.

Drop a line: tom@badanimals.com

Wendi Wills

From her seat as studio manager, Wendi Wills has a hand in every project that comes through Bad Animals®. “I love it,” she exclaims. “There’s such a variety of jobs that come through our doors. The challenges are always new, plus the personalities that come in here are just great to be around.”

Wendi serves as the Bad Animals® liaison between producers and the studio, setting the schedules, creating the budget and handling the billing. “Every project has a flow and I manage that,” she explains. “What’s consistent is that everybody wants a smooth and seamless process, so that’s my objective.”

In addition to managing the studio’s organizational work, Wendi handles any vocal casting needs for interactive, corporate video or advertising projects. Her most prominent voice casting projects include work with Nintendo and Sucker Punch Productions.

Drop a line: wendi@badanimals.com

Julie Etheridge

“Be nice to everyone!” is Julie’s first piece of advice to anyone looking to break into any industry. Julie is the latest addition to the Bad Animals team after her mentor and executive producer Larry Estes (then a professor at the University of Arizona) recommended her. Her appreciation for audio started with short films during her time in Tucson, joining a ragtag group of students in an independent study course. “It was just me and a couple of guys just trying to figure this whole ‘sound thing’ out,” she explains. Julie moved to Seattle early September of 2014 and since then she hasn’t been short on learning opportunities as the Production Assistant. “Since so much of what I’ve done in the audio world has been from a self taught trial-and-error, I feel like I learn so much just from breathing the air here.”

Drop a line: julie@badanimals.com

David Gallander

David Gallander takes one second to reply as soon as you notice he shares a birthday with one Elvis Aaron Presley. “Stephen Hawking, too,” he says with a laugh. “Elvis always comes up first, but I dig the Hawking link.”

So, add rockabilly and black holes to the list of things you can talk to David about while working at Bad Animals®. Alternatively, you can ask about his stint in Hollywood mixing radio and television spots for features such as “Taken,” “New Moon” and “Invictus” or recording catchy announcer copy for the blockbusters “Avatar” and “Green Zone.”

No matter the project’s grandeur or simplicity, David’s sole aim is to create an attention-grabbing track. “I love the challenge of finding just the right blend of sounds,” he says.

“Ultimately that’s what makes it a successful project.”

Drop a line: davidg@badanimals.com.

Red

Perhaps one of the most unique rooms in Seattle, the Red Room at Bad Animals® has been the launch pad for hundreds of commercials, television shows, corporate videos, ADR sessions and interactive projects. The Red Room control room is a stunning feat of design, with a blend of wood, fabric and cork giving a throwback vibe, as well as technology. The room was built carefully, with specific attention given to acoustics and comfort. The Red Room recording area is the largest in the facility, making it the go-to room for ADR, group voice and Foley sessions.

View Studio 360º in Google Maps

Blue

Odds are you’ll be tempted to duck and cover when walking into the Blue Room, considering this is where Bad Animals® mixers throw sounds from front to back and left to right on a wide variety of surround sound mixing projects. The Blue Room is one of the most technologically advanced at Bad Animals®, boasting crystal clear monitoring and tight acoustics that earned the facility the tough to earn Dolby Digital certification. At the same time, gear is not the focal point. In fact, the Blue Room was designed with comfort in mind and producers are able to work in here without watching the clock.

View Studio 360º in Google Maps

Green

The Green Room is the workhorse room at Bad Animals®, designed specifically to give sound designers and producers the space to work hand in hand. Ever since the room was opened in 1998, our sound designers have provided unique soundscapes for television shows, feature films, corporate videos and advertising campaigns. The technology in the Green Room, including a high-speed network where sound effects are available with a mouse click or two as well as some of the best post production gear available, enables work to be done efficiently.

View Studio 360º in Google Maps

Purple

The Purple Room is one of the newest spaces at Bad Animals® and it’s one of the most flexible, with a workstation that boasts speed and flexibility, monitoring that enables pinpoint reference checks and a vocal booth for quick voice over projects. The room is often used by a select list of freelancers who need to present their work to clients in a professional studio setting. If you’re interested in becoming an approved Bad Animals® freelancer, contact Wendi Wills at wendi@badanimals.com.

View Studio 360º in Google Maps

 

Charlie Nordstrom

Northwest native and entrepreneur Charlie Nordstrom became a partner in Bad Animals® two years after purchasing Studio X, a renowned music recording studio located next door to Bad Animals®.

Much like his time at Studio X, Charlie enjoys being surrounded by talented people. “Our crew and the people they work with are so creative and have such an ear for detail.”

He is confident that Bad Animals® has been successful because “we make the process very simple and straight forward. We have great talent and we have the best gear, and above all else our level of service is unparalleled.”

Drop a line: charlie@badanimals.com

Contact

Bad Animals
2212 4th Ave
Seattle, WA 98121

Phone.
206.443.1500

Toll Free.
800-236-5544

Fax.
206.441.2910

Email.
info@badanimals.com

 

Employment Opportunities:
We currently do not have positions or internships available.

 

History

Bad Animals History

As it stands today, Bad Animals® bears little resemblance to Steve Lawson Productions, a small 8-track analog studio opened by local radio personality Steve Lawson in 1979. There are new owners at the helm, the company is in a new building, the recording rooms have been updated and the focus is now exclusively on audio post production for film, television, video game and corporate video. Yet, the team of audio post production professionals working at Bad Animals®, lead by co-owners Dave Howe, Tom McGurk and Mike McAuliffe with Charlie Nordstrom, have retained the corporate philosophy of providing creatives from all over the world with renowned inspiration and service.

The team has brought that philosophy to life on a wide variety of projects, including feature films, television programs, advertising spots, games and corporate videos. The evolution from Steve Lawson Productions to Bad Animals® started in 1990 when the facility was moved to its current 4th Avenue location. Shortly after the move the business was expanded to include Studio X, one of the most noteworthy recording studios in the nation.

Indeed, when Studio X was a part of the facility bands and artists like R.E.M., Soundgarden, Johnny Cash, Nirvana, Heart and Danny Elfman could be found roaming the halls. At the same time, a bevy of creatives were coming into the facility’s studios looking for post production services and Bad Animals® became the destination of choice when they were looking for that special touch.

Bad Animals® split from Studio X in 1997, although the two facilities continue to share gear and answers calls for help when necessary, to concentrate on audio post production work. During the conversion, each of the five rooms in Bad Animals was upgraded to the best and brightest audio post production gear available at the time. Of course, the facility continues to keep up with technology and bring in whatever will make their sessions more manageable.

In 1999, Steve Lawson put the facility up for sale and Howe, McGurk, McAuliffe and Charlie Nordstrom became the new owners of Bad Animals®. More than anything else, the quartet made the move to further cement their connection to the Pacific Northwest and to service their existing clients. Thanks to the continuing boom of work, the Bad Animals® staff has continued to grow and evolve. Indeed, the roster of talent now includes engineers Sam Gray and Jamie Hunsdale, as well as a host of networked pros who contribute to sessions that are being worked on in Seattle.

It’s been nearly 30 years now and the team at Bad Animals® has built a success story in the Pacific Northwest. A bevy of awards and accolades have been added to the shelves in the lobby, clients continue to bring dynamic projects into the studios and the phones continue to ring with local talent checking to see what’s happening here.

Yet, the team is always looking forward to see what they can do better, what envelopes they can push and how they can add to the vision of creatives from around the world.

 

Listen

Staff

Studios

Services

Home

Original Music

Music has the ability to push the emotion of a scene in a hundred hidden ways, making the viewer laugh, cry or tense up with a subtle instrumental tweak. Bad Animals® composer Tom McGurk relishes the challenge and has added his unique original music beds to a host of projects that includes feature films, television programs, video games and advertising spots.

Indeed, McGurk can often be found tucked into his creative kitchen bouncing between keyboards, samplers and guitars while looking for just the right vibe. Classical? Rock? Hip-hop? Not a problem. A mish-mash of all three? Even better. “I love the Beethoven to Biggie Smalls approach to my job,” he says. “I’m hired to bring out the music that people hear in their head and sometimes that’s all over the place. My greatest joy is listening for the emotion that a client is to convey, coming up with a piece that answers the challenge and then watching their face light up when I hit it.”