Kage Shissler
Email : KICSaudio@gmail.com
Phone # 425-280-7690
Instagram : Kage Shissler
Hi, welcome to my website KICS Audio and I'm Kage Shissler; I’m an Audio Engineer with an AAAS degree from Shoreline Community College, passionate about all things sound. Whether it’s mixing, editing, or recording, I thrive in creative audio environments—ranging from music production and film post-production to live sound and beyond.
I’m a dedicated and motivated professional who values both quality work and a collaborative atmosphere. As an extrovert, I bring strong interpersonal skills to every project, helping to foster communication and a positive team dynamic. While I always maintain a high level of professionalism, I also believe in keeping the workplace enjoyable and uplifting when the time is right. Sound is more than just my career—it’s what drives me.
As part of my recording work, I’ve had the opportunity to collaborate with the local Seattle band "The Midnight Hour" on a three-song cover project featuring “When the Levee Breaks,” “Unchain My Heart,” and “Bring It On Home to Me.” I co-recorded these sessions with a teammate using Pro Tools and an Audient ASP 8024 console, and later took on the full responsibility of mixing each track independently, showcasing both my teamwork and individual technical skills. In a second recording project—also done in collaboration with my teammate—we captured four songs, selecting “On Green Dolphin Street” as the featured track for this portfolio. The photos below provide a behind-the-scenes look at how each recording session was set up and captured.
My colleague and I collaborated to record a jazz quartet led by Paul Nguyen, performing “On Green Dolphin Street. ” The group featured John Cuthbert on piano, Brent Butterworth on double bass, Ethan Weight on cornet, and Paul Nguyen on drums. We used a proven drum recording method from a previous session and carefully planned mic placements—placing the cornet in the isolation booth, the piano facing the curtains, and the double bass on the first step. Our detailed pre-session planning ensured a smooth and efficient workflow. During the session, we recorded six high-quality takes, each being either a double take or a different song entirely. The preparation and collaboration paid off, resulting in strong performances, excellent sound quality, and noticeable improvements in mic placement for the drums, piano, and cornet.
Wall-E Sound Design Project
First-Year School Project
As part of a collaborative class project in my first year, I helped recreate the full soundscape for a scene from the existing film Wall-E. The objective was to produce a complete mock sound mix, combining original Foley, voice work, licensed sound effects, and the film’s original soundtrack. I recorded a wide range of custom sound effects using everyday items such as a power drill, a filing cabinet, and various small office objects to capture mechanical and environmental textures. I also recorded digging sounds to reflect Wall-E’s earth-moving actions and enhance the realism of the scene. In addition, I provided the voice for Wall-E, recording and manipulating my own vocalizations using pitch-shifting and modulation techniques to achieve a robotic tone. To support the sound design further, I incorporated additional effects from Universal Sound, available through my school’s subscription. This project offered hands-on experience with Foley recording, voice acting, and building a cohesive sound mix for an animated film scene.
Audio Narrative Interview – Stories of a Nomadic Life
School Project
For a school project focused on audio storytelling, I was asked to produce a narrative interview, and I chose to highlight the life of Monica Carr, who was born into a nomadic lifestyle and transitioned out of it at the age of 18. The project centered around capturing her unique perspective and personal stories. I sourced a voice talent to ask my mother questions and recorded both voice parts in the garage of my residence at the time, using proper microphone techniques along with soundproofing and baffling to ensure clean, high-quality audio. After recording, I applied signal processing to both voices—including EQ and compression—to enhance clarity, presence, and overall polish. To enrich the narrative further, I incorporated both music and sound effects sourced from Universal Sound through my school’s subscription, helping to create a dynamic and immersive listening experience. This project was an excellent blend of technical audio work and creative storytelling.
In my recent collaboration with Dr. Cynthia Grace on the We Can Do It! chorus event, I provided live sound support to help ensure a smooth and professional performance. Dr. Grace had not anticipated the presence of a drummer and wasn’t initially prepared for percussion amplification. I was able to step in and save the day by using my own Shure SM57 microphones to capture and amplify the drum kit, ensuring it blended well with the rest of the performance without overpowering the vocals. This adaptability helped maintain the overall balance and energy of the event, demonstrating the value of preparation and quick thinking in live sound production.