We like music. We like design. We like games, art, history, philosophy, and most of all, we like stories. And we all have stories to tell.
After graduating from the conservatory, and further working for/studying under AMP Amsterdam and SourceSound L.A, Getting our hands on various franchises like Call of Duty, BattleField, Ghost Recon, NFS, Forza and various brands like IKEA, Redbull, Philips, ING and Bavaria, old partners in-crime Thijs Buwalda and Daan Moerkens tied the corporate knot and started OmniSound together after returning to the Netherlands.
Omnisound kicked off with productions for brands like MSI, BMW, Nespresso, Dell, Intel and games like Legatus, Tribe of Accord and Operator: Short Stories. Omni also did the additional composition for the dutch children’s movie “Piraat van Hiernaast”.
Our love of stories applies to every project; film, game, corporate, and everything beyond and in between.
We don’t believe a commercial is about selling the product per se; it’s about offering the unique experience of the product.
This piece of chocolate is not 50% off. It’s happiness in a wrapper.
After graduating from the conservatory in Enschede as a media producer, Thijs began his musical venture working for big brands such as Philips, ING and Red Bull at Amp.Amsterdam. Then the idea sparked to combine powers with Daan Moerkens. While Daan is strong on the orchestral/composing side, Thijs’s strengths lie in electronic and commercial music. In total raking up over 2 million streams on Spotify, he knows how to sound good!
Graduating from the conservatory as a composer for film and game, with minors in corporate productions and sounddesign, Daan started off as an independent composer and sounddesigner. After getting his hands on various games and franchises working for SourceSound L.A, Daan returned to the Netherlands and figured it was time to start OmniSound with his old partner in crime Thijs Buwalda. Before and after Omni, Daan worked on all kinds of audio-related projects, and with great pleasure he adds, such as games, interactive art stations, “artsy” movies, synth programs and implementation jobs.
As a drummer in multiple bands, Maurits started his musical career. While studying MediaMusic at the conservatory he soon discovered his incredible ears and ability to use perfect pitch. This is what got Maurits interested in Mixing and mastering, the attention for detail and making something sound as good as it possibly can!
Fun fact: he can tell you what colour your track is.
Our interactive audio genius! From building and programming plugins and synthesizers himself to producing drum and bass bangers, Tim can create the perfect atmosphere for everything.
Set the vibe with custom music from orchestral to electronic
Set the vibe with custom music
Make the world into a living, breathing experience of a lifetime
Trigger the right emotion, with the right voice, at the right time
Get your message across
Let the game and sound work together seamlessly
It highly depends on the project and your wishes for it. A general rule of thumb would be that we write about 1.5 minutes of music per day, in the box. But again, it highly depends on the project, music style, linear vs. Non-linear, instruments being used, being live, etc. Best to just contact us (anytime!) and we’ll take the time to make a detailed plan of attack.
No, sometimes the director or developer needs us for just music, just design, just ADR or anything beyond and in between. It’s absolutely possible to have us on board with a single or couple of disciplines.
A joint venture means OmniSound becomes co-owner of the game and will share in it’s profits once released. This gives us the freedom and time to work on your game and give it the audio it deserves, without any cost or restrictions beforehand.
Game audio implementation means implementing sound in a way that makes more sense than just “playing the sound”. It means we make sure the sound is “behaving” properly in the environment and is never the same. It also means sound and music can adapt within the scene, for example; music can intensify when there are more enemies around without making a “switch”.
Yes, should you choose to work with FMOD we can adapt to that.
Yes, you can, and yes, we sometimes do that though we prefer middleware since it gives us more freedom. Also bear in mind that we are audio specialists, and know middleware. We also know a fair bit about game engines, but are no specialists in that area with the exception of audio implementation.