From Editorial through Final Mix -
Sound in Service of Story
Nikola “Niko” Simikic is a Los Angeles–based sound designer and mixer with 15 years of experience in feature films, television, and advertising.
He specializes in re-recording mixing (dialogue, music, and effects), sound design, effects editorial, and sound supervision, with deep hands-on experience across all areas of post-production sound. Niko works out of a purpose-built home studio for editorial, design, and pre-mixing, and mixes final theatrical and broadcast projects on Dolby Atmos dub stages.
An avid field recordist, Niko regularly records his own sound effects, ambiences, and design material. A lifelong musician, he continues to write, produce, and mix music in his spare time. His work is driven by a strong sense of storytelling and a collaborative approach that supports narrative, emotion, and tone.
Nikola lives in Los Angeles with his wife, daughter, dog, two cats, and five chickens. He is a member of the Motion Picture Editors Guild and approaches each project with curiosity, precision, and a genuine love for the craft.
sound effects editor, design (season 2)
re-recording mixer
supervising sound designer, re-recording mixer
sound effects editor (season 3)
re-recording mixer
sound effects editor
supervising sound editor, re-recording mixer
sound designer, adr mixer
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Everything starts with the story. Sound is a vital part of narrative filmmaking, and I enjoy engaging early in the process to help uncover and guide it. With dozens of feature, television, and short film credits, I’ve brought the sound of a wide range of genres to audiences.
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Documentary filmmaking runs deep in my veins — from watching films with my dad as a kid to working on some of my earliest projects as a sound editor. Through acclaimed Netflix series, feature documentaries, and docu-style ads and web content, documentary has remained a thread throughout my career.
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Commercial content for broadcast and web has been a constant that keeps us busy. From highly stylized Lexus campaigns to hundreds—maybe thousands—of spots for Discovery Channel and its networks, to a globe-spanning treasure hunt for J.J. Abrams and Bad Robot, ads have always been there to keep things interesting.
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Alternative media blurs the line between story and play. From choose-your-own-adventure series to narrative/game hybrid web projects and point-and-click video games, I’ve brought sound to interactive worlds built for exploration.
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Sound design is where the world of a story comes to life—adding texture, emotion, and depth that draw audiences in. From subtle details to bold, stylized moments, I craft sound that supports tone, emotion, and narrative.
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Sound effects editorial shapes every impact, movement, and moment with precision. By organizing, refining, and enhancing each effect, the story’s world comes alive and every detail hits just right.
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Dialogue editing ensures every word is clear, natural, and emotionally resonant. Background noise is tamed, breaths and pauses are shaped, and the performance shines while remaining seamless within the world of the story.
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Foley gives motion a voice. Every step, touch, and gesture is enhanced to make the story’s world feel alive.
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Sound supervision guides the sonic vision of a project from start to finish. Every detail, from creative choices to team collaboration, is overseen to ensure the story sounds as compelling as it looks.
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ADR and voice over ensure every word lands. Dialogue is captured and mixed to enhance or protect performance and maintain immersion in the story.
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Mixing shapes every element of a project into a cohesive, immersive experience. From Dolby Atmos feature films to smaller-format projects, every aspect of the soundtrack is balanced and sculpted to serve the story and captivate the audience.
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An important part of selling a film, M&E’s (Music & Effects) ensures a project is ready for global audiences. Original language dialogue is removed, and the mix is prepped so when the film is dubbed in different languages, the intent of the original mix is in tact.
Why the name Western Tiger?
My wife, Sarah, and our daughter, Zoey, both love butterflies. Over the years, Sarah has transformed our yard into a thriving butterfly habitat—it’s something really special to watch. Every now and then, a Western Tiger Swallowtail appears: a large, striking butterfly with bold tiger-like markings on the backs of its wings. It’s my favorite of them all, and it became the inspiration for our name. Western Tiger reflects not only that butterfly, but also our family’s shared love for nature and the beauty it brings into our lives.
Sound Effects Libraries
I have released a couple of sound effects libraries, and I intend to release more in the future!
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Vintage Typewriters features five fully mechanical typewriters recorded at high sample rates for pitch and speed manipulation and mechanical sound design. Made for sound editors and designers to work fast, this library is detailed, thorough, and includes rich Soundminer metadata and even Radium instrument presets. Click here to learn more!
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Broken Car Engine is the knocking, clicking, rattling sound library of a broken 2006 Volvo V50 T5 5 cylinder engine.
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