about us
Brandon Wong
Recording Engineer, Orchestra Live Sound, Audio Production Manager
A multifaceted sound engineer and musician, Brandon Wong (b.1978) yields extensive musical and technical knowledge in a wide range of musical genres. Starting with a simple tape recorder and the infant ages of Digital Audio Workstation in his teens, Brandon journeyed into the world of music both as a performer and sound engineer, establishing himself as a reliable and positive asset to any production.
As an audio engineer, he has produced countless live classical, jazz and pop recordings with both local and overseas orchestras. His clients includes the Singapore Symphony Orchestra, Hong Kong Chinese Orchestra, Metropolitan Festival Orchestra and the Orchestra of the Music Makers.
As a live sound production manager and mix engineer, Brandon’s involvement includes the local and regional production of Genshin Impact Orchestra Concert Tour (2023/2024), Elden Ring (2024), Stardew Valley (2024) and Disney Magic: The Sound of Magic (2023).
Brandon graduated from Singapore Polytechnic with a Diploma in Electronics, Computer and Telecommunications (1998) and the Yong Siew Toh Conservatory of Music with B.Mus Honours(Distinction) in Double Bass Performance (2017). He is also a well-respected double bass luthier in Singapore.
Guo Ningru
Sound Designer, Live Sound Engineer, Music Producer
Guo Ningru is a sound designer with more than fifteen years of experience designing sound for both local and international productions.
She was awarded the Singapore National Arts Council’s Young Artist Award in 2022, recognixing her achievements and contributions to the scene. She was also a recipient of the Singapore National Arts Scholarship in 2016, which led her to graduate with a Masters in Fine Arts (MFA) in Sound Design from the esteemed Sound Design programme in the University of California Irvine.
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She particularly enjoys exploring with immersive audio for theatrical performances. Her MFA Thesis, ‘Going Immersive: The Case for Spatial Audio Systems in Theatre Sound Design’, specifically identified and discussed the current technologies available for sound designers to implement spatial audio designs which aids storytelling and helps achieve hyperrealism through the aural experience.
Ningru’s body of work explores the use of multidirectional audio and time-based localisation, recreating a three-dimensional aural space which presents audiences and listeners with hyperrealism, or the opposite effect – to create an expressionistic larger-than-life interpretation of sound. Some examples of such techniques were seen in her designs for T.H.E Dance Company’s ‘PheNoumenon’ (2019), ‘Infinitely Closer’ (2022), and The Theatre Practice’s ‘All The World’s A Sea’ (2024).
She also works as a live sound engineer for live music, orchestral film concerts and events.
