Brady Flanagan
Sound design

The world should
tell the story too.

Narrative sound design built around point of view, performance, pacing, and what the listener needs to feel before anyone explains it.

Featured work ↘Discuss a project ↗
Audio dramaHorrorDialogue editingPost-productionComposition-aware
Brady Flanagan speaking into a studio microphone
Production philosophy
“The sound should tell the story every bit as much as the dialogue.”

Effects, ambience, perspective, silence, transitions, and music are not decoration around the script. They are part of the narrative language. The goal is to make the listener understand the scene more deeply without burying the performance under the mix.

Core work

Two projects that show the approach.

Rather than flattening every sound credit into the same résumé row, this page now centers the two bodies of work that best show the range and production philosophy.

01
Original series · sci-fi comedy

Rogue Life

An end-to-end production where writing, acting, composition, editing, and sound design all had to support radically different worlds while still feeling like one series. The sound work could shift genre and location aggressively because the narrative point of view stayed consistent.

Sound designDialogue editCompositionWorld-buildingGenre switching
Why it mattersRogue Life shows the benefit of thinking across departments: sound choices were made with knowledge of the writing, performances, and music instead of after those decisions were already locked.

Listen to Rogue Life ↗
02
Horror anthology · ongoing

Your Horror Show

Horror makes the soundscape part of the suspense engine. Each episode needs its own sonic identity while still belonging to the same anthology, from restrained atmosphere and intimate interiors to effects-heavy action and surreal nightmare sequences.

Sound designHorror atmosphereDialogue clarityActionSurreal / nightmare texture
Range inside one showThe strongest examples are not the episodes that simply have the most effects. They are the ones where the sound changes how the listener reads the scene.
Listen in context

Two standout episodes.

These are full narrative examples rather than isolated sound-reel clips, so the mix can be heard doing its real job: supporting story over an entire episode.

Your Horror Show · S3 E10

Detour

A rundown cabin, a strange woman inside, and a story that depends on atmosphere and escalation without losing the intimacy of the performances.

Written & directed by Brady Flanagan · Sound design by Brady Flanagan · Brady performs Darian
Listen to “Detour” ↗
Your Horror Show · S3 E9

Shadow of the Fallen

A military officer experiences increasingly strange nightmares. The episode provides a contrasting, more effects-forward showcase for tension, scale, and intense sonic transitions.

Written by Steve Lloyd · Directed by Ryan Joseph Murphy · Sound design by Brady Flanagan
Listen to “Shadow of the Fallen” ↗
Additional work

Broader sound credits.

The page still acknowledges the wider production résumé, but it no longer asks those credits to compete with the strongest case studies.

Podcast / comedy

Cold Reads/Hot Takes

Sound design and production work across the series.

Audio drama

Tales from the Janitor

Sound design work in an established anthology format.

Interactive

From Devil’s Womb

Sound design work for an interactive project.

Sound & post

Need the world around the voices?

Send the format, scope, schedule, and what stage the project is in. The strongest starting point is usually the story problem the sound needs to solve.

Work with me ↗