Noise·Floor /noiz flôr/ noun: a collective of people that seamlessly blend layers of sound to create the ultimate audio canvas.
At NoiseFloor, we are a facility entrenched in film, television, advertising, gaming and the entertainment world. We are here to help with the technical and creative audio aspects of this ever changing industry. We have the ear, the technology, and the space to create. Take a look at the summary of the services we offer.
The mix is the thread that weaves all the elements of sound together: music, dialogue, sound effects, and silence. Everything must harmonize, just as the unified team at NoiseFloor does to bring the best to your project.
Starting with just two sound designers in 2005, NoiseFloor has grown to a strong ten member staff of sound designers, music composers, producers, audio implementators, mixers and location recordists. The team has brought experience, passion, and talent to such projects as: Hoop Dreams, Apollo 13, The Merry Gentleman, The Moleman of Belmont Avenue, Injustice: Gods Among Us, and the Halo video games series. Spanning Advertising, Gaming, Audio books, Television and Film, NoiseFloor’s client list ranges from Coca Cola to EGO to The Big Ten Network to Warner Brothers.
There are many other services that we can assist you with.
Feel free to contact us for more information. About Us
Starting out with banging pots and pans, Jamie Vanadia was always drawn to the world of music and sound. At age 5, he started his life long love of the drums and started taking lessons. In the years to come, Vanadia played drums professionally with Zen Lounge, Spirit Hour, CopperMinds, Julie Dutchak and Plan B, Shifter and Curveball. In addition to his passion for music, he is also an avid audio enthusiast. During his teens, he began mixing live sound for his father’s Top 30 Band, Variety. He soon became the recordist and engineer for many of his band’s musical releases.
After graduating from Columbia College with a degree in Sound, he acquired his first industry job at The Audio Source as a Mastering Engineer. Transitioning into post-production, he joined the audio team at Avenue Edit. For the next decade, Jamie used his widespread audio expertise to produce creative sound design and mixes for clients like Budweiser, Hallmark and Microsoft. He also oversaw full development of multiple studios at Avenue Edit and collaborated with architects and technicians to determine proper room layout, technical design, and aesthetics. This experience would later enable Vanadia to build NoiseFloor.
At NoiseFloor, Jamie works on an abundance of different projects ranging from national commercials for a variety of clients such as EGO and UHC, independent films such as Sustainable, iPhone apps, and video games like Injustice.
Today, Jamie shares his love of movies with his wife Kate, daughter Kallie and dogs Blizzard and Rocky. He has continued playing drums with his new band R. Mutt.
Devin Delaney is the perpetually working, head composer and lead of NoiseFloor’s music department. When you enter Devin’s composition suite, you will see that it is a reflection of his effervescent personality. The colorful walls are lined with guitars and basses, amps are tucked in every corner, there’s an armada of synths ready take sail, and a towering collection of pop culture swag. As a creative, Devin brings a unique blend of versatile musicianship, technical skill, artistic openness, steadfast diligence, as well as a deep emotional intelligence as a storyteller.
His formative years were spent as a punk-rock loving honor student who constantly tried to shed the prep school blazer and jump into a mosh pit at the Metro. He picked up the guitar at the age of 9 and bass soon after. By 17, Devin and his pop punk group had put out a full length record, which also began his journey into recorded music. Being the youngest in his family and a bit artsy, Devin, took a lot of guff from his siblings. His older brother’s favorite burn was to tell Devin, to “Go write a song about it.” Devin took that advice quite literally and graduated Magna Cum Laude from Berklee College of Music with a double major in Songwriting and Music Production & Engineering. Devin started his journey, like many, interning at post houses and eventually was introduced to NoiseFloor owner Jamie Vanadia. They started creating original music at NoiseFloor in 2010, and despite the changes in the industry have grown steadily and created music for constantly growing list of brands, films, games, and multimedia.
Outside of work, you can often find Devin producing tracks or playing out at Chicago venues with his post punk band, Eighties Slang. His googly-eyed Boston Terrier, Eloise has been at his side since his first composition gig for Coors Light; and is now joined by a scrappy rescue, Zoya the Destroya and a salty cat named, Rocket. On top of scoring video games, Devin absolutely loves playing them, is usually hammering away at some never ending RPG. Dev loves catching movies in the theater, especially if said theater has a good selection of IPAs. Devin is also an avid NBA basketball fan, so don’t hesitate to run your hottest draft lotto takes by him!
Stosh Tuszynski joined NoiseFloor as a Sound Designer in 2011. A graduate of Columbia College Chicago, Stosh brings a vast array of creative and technical skills to the team. With credits ranging from sound design on the AAA video game, Injustice: Gods Among Us, to ADR on Amazon’s Transparent, and a plethora of spot work with clients like Ford, Nike, and Otterbox, there’s no medium he can’t work in.
Stosh also brings a personal touch to each project he works on. With a passion for field-recording, he’s amassed an extensive personally recorded sound effects library, allowing him to make each project unique with sounds no one else has.
Cory Coken began his career in the industry by building an extensive and impressive list of credits. Having worked on feature films like Batman Forever, Apollo 13, and Hoop Dreams (just to name a few), Coken developed a versatile background in sound. He eventually transitioned into advertising where he has created, recorded, and designed audio for a number of television and radio commercials.
A majority of his career was dedicated to Avenue Edit where he spent 12 years working with clients like Disney, Coca-Cola and Army. In 2000, he built and created a new state of the art facility allowing Avenue to provide clients with the best studios for postproduction sound. Coken also teaches at his alma mater, Columbia College, where he instructs students on the theory and technical means behind audio for the visual medium.
He is always actively involved in numerous freelance projects including live recording for Drum Corps International and tackling the sound design/mixing for an independent films. Now with over 15 years experience in the industry, Cory brings his knowledge, talent, and passion for audio to his own studio, NoiseFloor LTD. Reddit = corycoken
During high school, Katie Waters was obsessed with finding the perfect music track to lay underneath her classmates' short films. The madness and obsession for sound for film skyrocketed after taking various post-production audio classes at Columbia College Chicago where she ultimately obtained a Bachelor's degree in Film & Video. Katie has worked at various post production houses in Chicago, both small and large companies, which has allowed her to decipher what works best to fulfill clients' needs on both client services and project levels.
In the past, Waters freelanced as a Foley Artist and has worked on projects such as: The Golf Channel's Our Longest Drive, the feature film Scrooge & Marley, and various short films. Aside from Foley Artist, Katie was a Logger at Harpo Studios for Iyanla, Fix My Life, Oprah: Where Are They Now? and Oprah's Next Chapter. When she isn't working, she loves going on long walks with her shepherd/border collie dog and being a crazy aunt by visiting her nieces.
Victoria Salazar is Location Audio Lead and Sound Editor at NoiseFloor LTD.
Victoria’s passion for audio has grown deeper and her storytelling has blossomed since she joined the NoiseFloor team in 2017. With her extensive knowledge of recorders and wireless systems she brings her years of technical and creative skills to each and every set, such as Elders of the Internet, Alka-Seltzer, Scutly, and many more.
Using her expertise in location audio, she started NoiseFloors’ custom sound effects department, where she has been cultivating and curating one of a kind sound libraries for NoiseFloor and it’s clientele. Releasing complete collections of sound effects like The Jeep Trackhawk and capturing the classic sound of a Big Wheel, she is always adding depth and diversity to NoiseFloor SFX.
Since her college years, game audio has been a driving passion in her life. She excels working with game developers and collaborating with other disciplines to make the best interactive experience for the player. Her knowledge of sound editorial, middleware and game engines has been put to use in games such as Injustice 2 and Destiny 2.
With her very diverse audio knowledge and passion she brings her audio alchemist mindset to projects like the film Girls of Summer, and commercials for UHC and Toyota.
She believes understanding how sound can evoke emotions in others is something that is truly important to her work.
When she is not working on audio, she spends her time running, playing video games, and hanging out with her family and her chill cat Paco.
Bryen Hensley’s career with sound can only be described as ‘love at first sight.’ While he was an undergraduate film major at Grand Valley State University in Michigan, Bryen befriended the family of our very own Cory Coken. This friendship led to Bryen’s first visit to a sound company -- Zenith Audio -- where he was exposed to foley, ADR, and mixing. He was sold. He spent his last two years at Grand Valley focusing on sound and began working at different post-audio houses in Chicago upon graduation.
Since then, Bryen has seen immense success as a sound editor and designer with extensive experience in the film and gaming industries. From his first project as assistant sound editor for the feature film Hoop Dreams, to his work on the Halo video games and various documentaries like The Squeeze and Ty’s list, Bryen’s impressive list of work continues to grow. He has even ventured into audio books with one of his more recent projects, Breathe -- an audiobook version of The Bible.
Bryen’s 25 years of work, incredibly impressive credits list, and wide range of experience give NoiseFloor a competitive edge unlike any other. Bryen’s continued work in film and gaming will undoubtedly add to his own successes as well as the successes of NoiseFloor LTD.
Jeff Ryan has always had an attraction to sound and music. At the age of seven, his parents bought him his first drumsticks and practice pad. From there, his obsession for the art of sound grew exponentially. By the age of 18 he was performing, producing, and promoting shows for local musicians in Mundelein, Illinois.
While working as a front-of-house mixer and attending DePaul University, Jeff befriended several cinema students and began to dive into the depths of production sound and sound design. His interest in film expanded even further throughout his college years and during his internship at NoiseFloor. While sound and music is his first passion, you can find Jeff skateboarding around town or laughing at a local comedy club.
Located in the River North neighborhood of Chicago, on West Erie Street is a post production audio facility that has been creating sound for over 20 years. From footsteps made with baking soda to enhance your favorite creepy movie, to layering the right number of explosives to create a classic BOOM in your video game, we create those sounds and feelings. There is no medium we don’t work on.
Our goal is to tell your story through the use of sound. We do that through conventional methods like mixing, recording, and sound design. Of course, we’ve also been known to smash random objects just to get that perfect sound. We love what we do, we go above and beyond the call of duty. Take a pass through our general portfolio of work above, or click on the separate genres to the left.