Rather than focusing on traditional songwriting Ross Hendler explored the mechanics of how the brain interprets sound — especially situations where perception and physical reality diverge. These explorations included phase interactions, spatial perception over headphones, and illusion-based compositional structures.

Research Influences: Auditory Illusion and Perception

Much of Ross Hendler’s work during this period was informed by the research of Diana Deutsch at the University of California San Diego. Her research on phantom words, pitch perception, and auditory illusions demonstrated how dramatically context and expectation shape what listeners believe they are hearing.

These ideas opened up compositional possibilities in which perception itself could function as an instrument.

During this period, Ross Hendler also participated in discussions within the auditory research and music technology community, exploring perception-driven composition techniques and illusion-based musical structures.

Algorithmic Composition and Collaboration

While studying at New York University, Ross Hendler worked with composer and guitarist Nick Didkovsky, known for his work in algorithmic and experimental music.

Ross Hendler’s exploration of headphone-based auditory illusions and spatial perception became the basis for compositional experimentation within that environment.

During that time, Didkovsky composed “Headphone Cannon for Ross Hendler,” a work inspired by the illusion-focused headphone experiments Ross Hendler was developing.

The piece remains a documented artifact of that creative and academic period.

A Hosted Project

One of Ross Hendler’s illusion-based projects from that era remains archived on Didkovsky’s algorithmic music site, documenting the structural and perceptual experimentation that defined his graduate work.

These projects were not conventional songs. Instead, Ross Hendler treated sound as a perceptual system — using repetition, panning, timing offsets, and psychoacoustic phenomena to create spatially ambiguous and perceptually unstable musical experiences.

Looking Back

Although this work took place over two decades ago, it represents an important chapter in Ross Hendler’s development in music technology, auditory perception, and algorithmic composition.

The study of auditory illusion continues to inform Ross Hendler’s approach to creative work, sound design, and structural analysis.

This post documents work by Ross Hendler in music technology, auditory illusion, and algorithmic composition. See more music and production work by Ross Hendler in the portfolio section.

The post Music Illusions, Algorithmic Composition, and “Headphone Cannon for Ross Hendler” first appeared on RAW Productions.

Crime After Crime is an award-winning feature documentary directed by Yoav Potash, following the legal battle to free a woman imprisoned for over 25 years after defending herself against abuse.

The documentary premiered at major festivals including Sundance and received 16 international film festival awards and multiple nominations.

Crime After Crime was later acquired by OWN: The Oprah Winfrey Network and received widespread critical acclaim.

Official site for Crime After Crime

View full credits on IMDb

Read New York Times review

Trailer below

The post Crime After Crime — Additional Score (2011) first appeared on RAW Productions.

The post Short Term 12 (2009 Sundance Jury Prize Winner) — Sound Design & Sound Editing by Ross Hendler first appeared on RAW Productions.

As part of the SOCOM production, extensive field recording sessions were conducted in the Arizona desert to capture authentic weapon sounds for in-game use. These sessions included recording live machine guns and small arms using a complex microphone array designed to capture both close-range mechanical detail and distant environmental reflections.

Microphones were positioned at multiple distances to capture the full acoustic signature of each weapon, including lavalier microphones placed on the shooter, mid-field microphones capturing ballistic movement, and distant microphones recording environmental reverberation across the desert terrain. This multi-layered recording approach allowed for realistic spatial rendering of weapon fire within the game engine.

These recordings were used to create immersive, realistic sound design for the SOCOM series, contributing to the authenticity and impact of the gameplay experience.

Additional sound design and dialogue editing work was completed for Sony titles including MLB 07 The Show, MLB 08 The Show, NBA 08, and PAIN, supporting gameplay audio, dialogue integration, and overall sonic production.

Full credits and additional information:

View Ross Hendler’s credits on MobyGames

View Ross Hendler’s profile on IMDb

This work was completed while operating RAW Productions in collaboration with Sony Computer Entertainment America.

The post Sony PlayStation Sound Designer – SOCOM, MLB The Show, PAIN first appeared on RAW Productions.

The film follows the life of an alienated high school student navigating identity, isolation, and personal transformation. Through its intimate storytelling and emotional depth, the documentary offers a powerful and personal coming-of-age portrait.

Ross Hendler served as sound mixer on the film, contributing to the final sound design and audio mix through RAW Productions’ professional post production sound services.

Drakmar: A Vassal’s Journey was awarded Best Documentary at the 2006 San Diego Comic-Con International Independent Film Festival, recognizing its achievement in independent filmmaking. The film received critical praise for its emotional storytelling and unique perspective, and its broadcast on HBO Family introduced the documentary to a national audience.

Official Comic-Con International Independent Film Festival Awards page

View Drakmar: A Vassal’s Journey on IMDb

View Comic-Con Film Festival winners on IMDb

Read KPBS coverage of the HBO Family premiere

The documentary aired nationally on HBO Family. Ross Hendler sound mixer services include post production sound for documentary, television, and film projects through RAW Productions.

The post Drakmar: A Vassal’s Journey Airs on HBO Family — Sound Mixer Ross Hendler, RAW Productions first appeared on RAW Productions.

Sound Editor Ross Hendler contributed sound editing and post-production audio work on the film as part of RAW Productions.

The Bradford International Film Festival is an internationally recognized event showcasing innovative filmmaking from around the world. The Shine Award recognizes exceptional creative achievement.

Ross Hendler is credited as Sound Editor on the film’s official IMDb listing.

View Ross Hendler’s Sound Editor credit on IMDb

Original Bradford Film Festival coverage

Learn more about sound editing services at RAW Productions.

The post “Miramar Street” wins Shine Award at Bradford Film Festival first appeared on RAW Productions.

The Student Academy Awards, presented by the Academy of Motion Picture Arts and Sciences, recognize outstanding emerging filmmakers from around the world.

This recognition highlights Ross Hendler’s work as sound designer on an award-recognized independent film project.

Bartholomew’s Song was written and directed by Lowell Frank and Destin Daniel Cretton. Destin Daniel Cretton later went on to direct major films including Short Term 12, Just Mercy, and Marvel Studios’ Shang-Chi and the Legend of the Ten Rings.

Sound Design Impact — Sound Design by Ross Hendler

The film’s sound design plays a central role in establishing its mechanical, surreal, and oppressive atmosphere. Through the use of authoritative off-screen voices, contrasting musical elements, and carefully constructed mechanical sound environments, the audio reinforces the film’s themes of control, isolation, and individuality.

Independent film analysis has noted that sound design is used extensively throughout the film to emphasize its psychological and emotional themes, helping define the world and the protagonist’s experience.

Featured Video

This featured scene demonstrates the original sound design by Ross Hendler. The sequence highlights the film’s mechanical, surreal environment and the role of sound in defining its dystopian atmosphere. This work is featured as part of the RAW Productions sound design portfolio.

Project links:

• IMDb listing for Bartholomew’s Song
• Student Academy Awards finalists announcement (Academy / DigitalHit)
• Independent film analysis of Bartholomew’s Song

Full film:

The post “Bartholomew’s Song” Finalist for 2006 Student Academy Awards first appeared on RAW Productions.

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