Lime Studios has launched its new sound design division, aptly named LSD (Lime Sound Design). Featuring the newly signed talents of sound designer Michael Anastasi and Lime sound designer/mixer Rohan Young, the duo has already created sound design for national commercial campaigns.
Young explained that setting up LSD as its own sound design division, as opposed to bringing in Michael to sound design at Lime, allows clients to separate the mix from the sound design on their production if they choose. “In other words, clients can sound design with me, mix with anyone at Lime, or mix with me; sound design with Michael, mix with me, mix down the street, whatever,” he explained. “LSD now can provide clients with a full sound design experience. Michael was not only the clear choice for me, but the best we could possibly hope for.”
Sound designer Michael Anastasi joins LSD from Barking Owl where he spent the last seven years creating sound design for a number of highest profile projects. Michael recalls his fortunate experiences recording sounds with John Fasal, and Foley sessions with John Roesch and Alyson Dee Moore as having taught him a great deal of his craft. “Foley is actually what got me to become a sound designer,” he enthused. Projects that have turned out to be career highlights for Anastasi include the PSA on human trafficking entitled “Hide and Seek,” which garnered a prestigious AICP Award for Sound Design. Michael also provided sound design to the feature film Casa De Mi Padre, starring Will Ferrell and served as sound supervisor/sound design on the film.
Anastasi also created sound design for the GE spot The Boy Who Beeps,” directed by Lance Accord and edited by Kirk Baxter. “There was a ton of exploration on that project, and I even ended up using some of my 12-day-old twin daughters’ cries that I manipulated,” he explained. For Adidas “Basketball Needs Creators,” Michael included a great deal of sound design that “doesn’t exist in the real world,” he detailed. “The edit lends itself to a lot of stop, go, fast forward, and rewinding sounds. With this project, as with all of them, the first thing we do is come up with a game plan of what sort of sound treatment it will need. We go from there,” he explained. “Our main focus is working to record as many sounds as we use, whether it’s out in the field or in the Foley room. Trying to make each sound unique is very important.”
Lime is currently building new studios for LSD, featuring a team of sound recordists and a stand-alone Foley room. “I am just thrilled to be here with the Lime team and launching LSD as its own sound design division,” concluded Anastasi. “Collaborating with Bruce, Susie and Rohan on LSD is really the next big step in my career and I’m so grateful to be with like-minded creatives who have the same vision. I believe strongly in developing long-term relationships with clients, so that they can come to us with their projects early on in the creative process and we can partner with them on creating the best sound environment for their projects. That trust that clients put in us is so incredibly important.”
The LSD team is currently in the midst of a series of projects launching this spring, including commercial campaigns for Nike, Samsung, StubHub and Adobe.