From Hellgatewiki.com

Dave Steinwedel is a rookie transplant to the gaming industry from the hustle and bustle of Southern California's advertising and film industries. As an energetic intern at Danetracks, Dave earned his stripes working recording sessions and subsequently mastering sound effects for The Matrix Reloaded, 8 Mile, & Cradle to the Grave.

A little bit of luck and a lot of hard work landed Dave an assistant's position at 740 Sound Design, the advertising sister to Danetrack's film studio. He moved quickly, chomping through the roles of assistant, technician, producer, and eventually got his stab at sound designer. While at 740, over 250 spots flowed through his hands. He has cut commercials for Nike, Honda, Adidas, and the NFL Network, among many others. Dave also took on short film and student projects, sharpening his chops by designing into the wee hours of the night.

Dave returned to his Northern California roots to become the resident audio guru at Flagship, designing the audio-scape for Hellgate: London. He also keeps the whip to any composers who come through our door and makes sure to kiss the audio programmer's butt on a regular basis.

When Dave's not stomping around in the foley booth, he can often be found drumming, hiking, or cursing whoever decided to cancel Samurai Jack.

More Info

See all the Dave Steinwedel photos in the Image Gallery.

Dave was profiled in an RPG Vault Designer Diary in 2005. A quote:

August 2005
It's a warm summer evening, right around 9PM. I'm leaving my apartment, recorder over my shoulder, headphones atop my ears, and microphone in hand. Tonight's goal is to capture the sound of screeching train rails, preferably from an exterior position on the train. After walking three blocks to the subway station, I head four stories into the earth, pop my ticket in the machine, and slide through the gates, making sure my gear stays clear. An east-bound train pulls into the station. I hop on, aghast at how many people are still riding this late into the evening (humans are enemy #1 when it comes to capturing sound, they are loud—always talking and moving as noisily as possible at all times). I find the least crowded car and set up shop. A passenger wearing headphones moves close to me & the mic picks up his music so I move to a new spot. Passengers talk from time to time. Each conversation is effort I will have to spend later combing the recording to cut them out.