Testimonials

“Working with Zack on DOOM has been amazing. He is a true professional versed in every aspect of audio…and then some.  He has amazing vision and all the talent, technical prowess and creative drive needed to bring that vision to life.”
-John Mulkey: Design Director – id Software

“I have been crossing paths with Zack for a number of years now but have been working with him steadily for the last 2 years on the game “Fracture” for which he was the Audio Director at Day 1 and I was the contracted content provider through Lucasarts. As most games with longish production cycles go, there were a few bumps in the road and many changes to be dealt with. Zack always maintained his creativity and sense of humor and I really have to take my hat off to how well he managed every single one of them. In this industry there is a quick little saying we use to qualify someone—-by simply saying that the person “gets it”. Well Zack is someone who gets it completely. From dreaming up interesting and creative new ideas to helping work to develop the low level technology required to pull them off, he is someone I would work with again in an instant. As an Audio Director, you must wear many hats, from programmer to politician, and he truly wears them all well. The bottom line is that, were I in a position to be considering Zack for a position, I would hire him in an instant and look forward to getting the chance to work with him again. Having been in the games industry for over 15 years now, guys like him don’t come around too often.”
-Julian Kwasneski: President – Bay Area Sound

“I had the pleasure of working with Zack on a number of AAA projects spanning a three year period. I can say without reservation that he is one of the best audio directors I have ever worked with. His dedication, professionalism, attention to detail, and natural talent are a credit to any company he works with.”
-Dan Hay: Producer – Ubisoft Montreal

“Over the past two years, I’ve come to recognize Zack not only as an incredibly talented audio director, but also as a tireless, highly dedicated, and invaluable member of the team. He consistently delivers as Sound Guy Extraordinaire — even when (repeatedly) faced with 11th hour requests for critical audio support — and he somehow manages to keep even the most stressful deadlines light and fun. He’s exactly the sort of person you want on your team for any project.”
-Michael Ryan: Senior Game Designer – Wideload Games

“Zack Quarles is a joy to work with. He pours 110% of himself into every aspect of the project he’s working on. You’d be hard pressed to find anyone more committed or dedicated to quality and craftsmanship.”
-Kenn Hoekstra: Executive Producer – Pi Studios

“Zachary Quarles is one of the most talented audio engineers I have had the fortune to work with in the industry. The ideas he comes up with for audio effects are incredibly innovative. His understanding of musical and audio arrangement for an interactive experience is on par with the best audio work I have heard in any software title. In addition, Zach’s got a great personality and an equally great work ethic.”
-Troy Perry: Cinematic Artist – Blizzard

“Working with Zack Quarles is both easy and refreshing. His music and sound work added a dimension to Soldier of Fortune 2 that brought the mood and feel of the game to a level rarely seen in video games. His talent and innovation are an asset to anyone working with him.”
-Andrew Trabbold: Artist Carbine Studios

“Working with Zack has been quite an experience. He’s been a positive influence on the projects he’s been a part of by always being upbeat and forward thinking about the music he’s composed. He takes a genuine interest in the opinions of others and by having an open approach to his music, has made it that much better. The music itself is always innovative, inspired and appropriate to the needs of the project.”
-Fred Hooper, Artist – KAOS Studios

“Zack has an uncanny ability to make even the most trying development challenge fun and easy. He was able to take extremely difficult audio tasks and take them further than anyone thought possible. Combine this with his insight into cinematic presentation and you get someone who is invaluable to the game creation process.”
-Pat Lipo: Game Designer

“Zachary is one of the people I turn to when I need advice in both sound fx design and music composition. His work in both these areas are technically and artistically outstanding. After listening to Zachary’s work, I feel he has a natural ability to create sound and music that will compliment specific environments and situations, whatever they may be.”
-Brian Youds: Lead Sound Designer – Ubisoft

“One couldn’t ask for a better artistic collaborator than Zachary Quarles. His sound design for our production of Macbeth reflected Zack’s intense study of the text, his understanding of the efficacy of theatrical effect, and his technical proficiency. Zack had the challenge of only using organic sounds for his design, yet he created a ‘score’ for the production which supported the concept of decoding how a Jacobean audience may have received the piece into contemporary terms. Throughout the process, Zack was eager to both listen to and contribute suggestions, and the finished product testified to his creativity, imagination, and theatrical sensitivity. Given the opportunity, I would use Zack for all my future productions.”
-Dr. Michael Mauldin: Artistic Director – CSU

“Having collaborated with Zack on Macbeth, I knew he was extremely talented and adaptable; however, I never knew how ultimately versatile Zack’s musical style was until he composed the music for Romeo & Juliet. Zack most recent score was of a style entirely different from Macbeth but of the excellent musicality that he consistently delivers. Rather than providing every piece he writes with similar chord structures or signature sounds, Zack leaves his personal mark by evoking the heart of the individual scene and by expanding the entire world of the play. Zack is conscientious not only of the role played by the individual song but also of the importance of the totality and unity of the score. His discrete use of music (that is simultaneously haunting and beautiful) in Romeo & Juliet enhances each scene in which its played, and although this production opened in January of 2003, the songs continue to play in my mind.”
-Jason King Jones: Guest Director – www.njshakespeare.org