Episode Overview

Podcast: Twenty Thousand Hertz
Episode: Harry Potter and the Sound Designer’s Stone
Host: Dallas Taylor
Release Date: March 9, 2026

This episode explores the intricate process of sound designing Audible’s new, cinematic Harry Potter audiobooks. Host Dallas Taylor sits down with Will Cohen and Lawrence Kendrick of String and Tins, the audio team responsible for the immersive, meticulously detailed soundscapes that transform J.K. Rowling’s Wizarding World into a vibrant auditory experience. The episode delves into the creative choices, sonic challenges, and magical moments that shaped these beloved stories for listeners in a brand-new way.

Key Discussion Points and Insights

Imagining Harry Potter Through Sound

• Dallas Taylor discusses reading the Harry Potter books aloud with his daughter and the transition from traditional readings to the new multi-voice, sound-designed audiobook editions ([00:00]–[03:05]).
• Notable Moment: Doris, Dallas’s daughter, prefers the “movie-ish” audiobooks because of the varied voices and immersive sound effects.
• Quote:

  "These audiobooks sound awesome... They're basically full on movies for your ears."
  — Dallas Taylor ([03:05])

The Enormous Undertaking Behind the Sound Design

• The new audiobooks span all seven Harry Potter books — about 130 hours, with constant, canon-accurate sound effects ([04:07]).

• Every location, ambient detail, and object sound was scrutinized for accuracy and consistency with the books.

• Quote:

  "You can't have a clock mentioned in book six and not have it in book one. So everything is totally canon to the books."
  — Lawrence Kendrick ([04:22])

• The sheer scope was daunting, especially given the passionate and detail-focused fanbase.

• Comparing the project to previous versions (e.g., the classic Stephen Fry narration) created extra pressure ([05:00]–[05:53]).

Challenges Unique to Audiobook Sound Design

• Pacing and Timing: Unlike film, audiobook narration is drawn out. Designers had to anticipate narration and “lead the narration” with sound ([06:26]–[07:16]).

  • Quote:

    “If you're told the thing before you hear it, then it's breaking the spell.”
    — Will Cohen ([07:16])

• Example: The sound of frying eggs starts before the narration mentions it ([07:31]). This approach weaves sound into the narrative without becoming formulaic or distracting.

Maintaining Organic, Believable Magic

• Audible and Pottermore mandated that even magical sounds must feel organic, realistic, and grounded ([08:09]–[08:48]).

• Quote:

  “If a wizard casts a spell, it's not sparkles and tinkly-ness. The physicality of what is happening in front of you is what drives the sound design.”
  — Lawrence Kendrick ([08:32])

• Example: Hagrid opening a brick wall called for a custom “jiggling brick” sound, recorded by hand ([09:25]–[10:05]).

Differentiating the Muggle and Wizarding Worlds

• The designers deliberately created a “beige,” colorless soundscape for the Muggle world, transitioning to a vivid cacophony in Diagon Alley (inspired by The Wizard of Oz) ([10:11]–[11:43]).
• Crowds and Walla recordings were sourced authentically — e.g., capturing an “old world” street vibe in Stratford-upon-Avon ([12:08]–[12:53]).

Iconic Locations and Vehicles

• Recording for the Hogwarts Express involved a real 1940s steam train, capturing every possible angle and sound texture ([13:08]–[14:28]).

  • Memorable Moment:

    “It was probably the loudest thing I’ve ever recorded.”
    — Will Cohen ([13:08])

• Hogwarts’ Great Hall ambience was created by recording real children in an old school building, capturing spontaneous, genuine reactions ([15:25]–[16:42]).

Sound Motifs for Places and Objects

• Every door in Hogwarts, Gringotts, and elsewhere has a unique, emotionally resonant sound based on location, magical affiliation, and narrative context ([21:49]–[23:01]).
• Subtle motifs: A lion’s roar in Gryffindor’s door, snake hisses in Slytherin’s, clinking coins in Gringotts ([22:12]–[23:01]).

Designing Spells and Magical Creatures

• Spells were sorted into “positive” and “negative” sonic families, balancing musical shimmer with animalistic or sinister textures ([23:18]–[25:38]).

  • Creative Process: Lawrence tried 40 different spellcasting flavors but simplified for clarity and less distraction.

• Notable Quote:

  "I thought, it's kind of the closest I can as a Muggle come to casting a spell in my mind — like that strike and the flaring of it."
  — Lawrence Kendrick, on inspiration for spell sounds ([25:01])

• Creatures:

  • The Dementors’ chilling sound comes from “inhale screams” and gargling egg whites for texture ([27:28]–[29:18]).
    • Memorable Moment: Live demonstration and laughter as Will and Lawrence try inhale screams on mic ([28:06]–[28:30])
    • Quote:

      "Phil gargled egg whites... it has that sort of sticky textural thing and clings to your throat."
      — Lawrence Kendrick ([28:42])

  • Aragog’s mandible clicks were performed, sampled, and modulated in real time ([30:04]–[31:54]).

Fandom and Lasting Legacy

• Both Will and Lawrence are fans, with Lawrence describing childhood enthusiasm and Harry Potter quizzes ([32:01]).
• The team’s excitement (and nervousness) regarding how fans would receive their work; the overwhelmingly positive response was fiercely gratifying ([32:30]–[32:54]).
• Quote:

  "There are very few mediums like this... I’ll still be proud of this when I’m an old man."
  — Lawrence Kendrick ([33:15])

Notable Quotes and Moments

• Dallas Taylor:

  "These audiobooks sound awesome... They're basically full on movies for your ears." ([03:05])

• Lawrence Kendrick:

  "You can't have a clock mentioned in book six and not have it in book one. So everything is totally canon to the books." ([04:22])

• Will Cohen:

  "If you're told the thing before you hear it, then it's breaking the spell." ([07:16])

• Lawrence Kendrick (on spell sounds):

  "I thought, it's kind of the closest I can as a Muggle come to casting a spell in my mind — like that strike and the flaring of it." ([25:01])

• Will Cohen (on Hogwarts Express):

  "It was probably the loudest thing I've ever recorded." ([13:08])

• Lawrence Kendrick (on legacy):

  "There are very few mediums like this... I’ll still be proud of this when I’m an old man." ([33:15])

• Team Acknowledgement:

  "It was a really awesome team... Pete Doggett, Phil Lee, Kevin Langhammer and Damian Pace with our most excellent tech, George Hinson."
  — Will Cohen ([34:02])

Timestamps for Important Segments

| Time | Segment | |-----------|--------------------------------------------------------------------------------------| | 00:00–03:05 | Dallas's intro, discussing experience reading to his daughter and audiobook transition | | 03:05–04:07 | What makes these audiobooks different (full cast, Dolby Atmos, sound design) | | 04:07–05:13 | Scope and canon-accuracy: 130 hours, every detail covered | | 06:26–07:16 | Sound design for audiobooks vs. film – "lead the narration" principle | | 08:09–08:48 | The importance of organic sound for magic | | 09:25–10:05 | Recording bricks for Hagrid’s wall-opening scene | | 10:11–11:43 | Soundscape contrast: Muggle vs. Wizarding world, Diagon Alley | | 13:08–14:28 | Recording Hogwarts Express, ambient details, and unique microphone techniques | | 15:25–16:42 | Capturing Hogwarts’ Great Hall with real children | | 21:49–23:18 | Every door’s unique sound and emotional layering | | 23:18–25:38 | Spell sound design: positive vs. negative vibe, inspiration and process | | 27:28–29:18 | Creating dementors’ chilling sound using inhale screams and egg whites | | 30:04–31:54 | Aragog’s clicks performed live, integrating with narration | | 32:30–33:15 | Launch, reviews, and the emotional legacy of the project | | 34:02 | Acknowledgment of the whole String and Tins audio team |

Conclusion

This episode of Twenty Thousand Hertz pulls back the curtain on the monumental, heartfelt work required to transform the Harry Potter novels into an audio experience that honors both the letter and the spirit of the originals. Through creative problem-solving, field recordings, and technical ingenuity, the String and Tins team created “movies for your ears” that are already resonating with a new generation of fans and old. For anyone curious about the magic of sound design, this episode is itself a masterclass.