Last year, Alvin Wee, a Malaysian music mixer based in LA, made waves in Hollywood by winning the Cinema Audio Society Award for his work as the Scoring Mixer on Disney’s “Encanto” soundtrack. He later went on to win a Grammy for his contributions to the score. This year, Wee was honored with the GameChanger title at the BOH Cameronian Arts Awards 2023, recognizing Malaysians who have excelled in the international arts scene. In an interview, Wee expressed his gratitude for the recognition and reflected on his growing influence in Hollywood.
Wee’s portfolio has continued to expand as he works on highly anticipated films such as “Mulan,” “No Time To Die,” and “Top Gun: Maverick.” Recently, he completed the music mixing for fellow Malaysian Adele Lim’s directorial debut, “Joyride,” as well as Marvel Studio’s “She-Hulk: Attorney At Law.” He has also worked on various projects for Netflix, including “Wanna Dance With Somebody” and “Devotion.”
But what might surprise you is that Wee isn’t just limited to film and television. He has also made a name for himself in the world of video games. Wee has worked on popular game titles such as “Lightning Returns: Final Fantasy XIII,” “Kingdom Hearts 2.5,” and “Resident Evil XII.” He enjoys the interactivity and immersive nature of video game sound design, stating that it adds another layer of fun and engagement for players.
Wee explained that the approach to mixing for linear media like film and TV differs from that of video games. In linear media, the audience has no impact on the on-screen actions, allowing Wee to be intentional with his work. However, video games require a wider scope and consideration of different factors. Despite the differences, Wee’s primary focus is music mixing, whether it’s for films or games.
Wee compared his role as a mixer to that of a chef, emphasizing the importance of presenting the composer’s work in the best possible way. He clarified that he doesn’t create sound effects or audio cues for games, as that falls under the purview of sound designers and foley artists. Wee acknowledged the skill and dedication required for those roles and expressed his respect for his colleagues in that field.
In addition to his accomplishments in film and video games, Wee has also dabbled in music mixing for virtual reality (VR). His work on the VR project “Buddy VR” earned recognition at the Venice Film Festival. Wee admitted that audio implementation for VR presents technical challenges different from traditional video games. While he doesn’t work on VR projects as frequently, he is open to exploring more opportunities in that realm.
As for Wee’s personal gaming habits, he admitted to being a casual gamer these days but recognized the value of being a gamer in the industry. Many of his friends who work in game development got their start because of their love for gaming. Wee shared his favorite game soundtracks, including “Metal Gear Solid II,” “Mario Bros,” “Final Fantasy,” and “Kingdom Hearts.”
Reflecting on his journey as a Malaysian music engineer in the international scene, Wee acknowledged that building a global audience is now more accessible thanks to online platforms and networking. He emphasized the importance of making well-informed decisions and persevering through challenges as keys to success. He also expressed a desire to provide opportunities for aspiring Malaysian musicians, engineers, and producers to learn from him in his Los Angeles studio.
Overall, Wee’s achievements and versatility in the music industry, spanning film, video games, and VR, serve as an inspiration for aspiring artists in Malaysia and beyond. Closer to home, sound designer Duncan Soo shared his experiences working in the Malaysian indie game development scene, highlighting the promising outlook for the industry.
Credit: The Star : Tech Feed
