Sound design · spatial audio
At Immersive Stage he contributes to Ecos27 and to the sound research behind the works. A co-founder of IMEXsound, he treats listening as part of the space, working with the placement of instruments, the voice and the movement of sound around the audience.
Propose a collaboration ↗Training, other works and artistic practice.
His work brings together two professions often described separately: the musician listening to a performance and the engineer shaping the conditions in which it is heard. Trained in Art of Sound at the Royal Conservatoire in The Hague, he works across recording, mixing, live sound and spatial systems, with a particular interest in contemporary acoustic music.[1]
Sound projection has a particular place in this trajectory. Between 2017 and 2019, he and Marko Uzunovski investigated how to document the performance of sound in Aus Licht, the Stockhausen production staged in Amsterdam. Rehearsals and performances became a means of studying diffusion decisions and recording the knowledge of the composer’s long-standing collaborators.[2]
His stage credits include sound design for the 2022 Holland Festival premiere of Mary Finsterer’s Antarctica and for The Opera Circus, the 2026 OPERA2DAY and Netherlands Bach Society production. In Madrid, Quijotes en Nueva York brings his work into dialogue with Jean-Philippe Dury’s choreography, Iris Azquinezer’s music and Pedro Giuliano’s images.[3][4][5]
He also works with the duration and attention of the exhibition space: in 2023 he realised the sound for Heiner Goebbels’s installation The Last Painting at the Museo Reina Sofía. On a different scale, he and Tyler Soifer designed and aligned the system for Joe Hisaishi’s Tokyo Dome concerts, documented in the specialist press in 2025. Both projects place the relationship between work, room and listener at the centre of his practice.[6][7]
Sound design · OPERA2DAY and Netherlands Bach Society.
System design and alignment with Tyler Soifer; report published in July 2025.
Sound design · Elephant in the Black Box.
Sound realisation for the installation · Museo Reina Sofía.
Sound design · Holland Festival premiere.
Co-founded with Thilo Schaller.
Sound projection and research with Marko Uzunovski.
Documented projects, interviews and creative processes.
All of Bach releases J. S. Bach – The Apocalypse, by OPERA2DAY and Nederlandse Bachvereniging.
All of Bach · Nederlandse Bachvereniging ↗Sound design, editing and mixing: Arne Bock. Recording: Bock, Nina Kraszewska and Rick Hendriks, 14–15/02/2024.Arne Bock designs the sound for this OPERA2DAY and Netherlands Bach Society production. Handel’s music, Baroque theatre techniques and contemporary circus share the stage.
OPERA2DAY · artistic team ↗Sound design: Arne Bock. Production: OPERA2DAY and Netherlands Bach Society. Tour from January to March 2026.Entertainment Technology Asia explores the system design and alignment for Joe Hisaishi’s Tokyo Dome concert. Arne Bock and Tyler Soifer work on coverage throughout the venue to bring the orchestra’s music to every part of the audience.
Entertainment Technology Asia · Elton ↗Article ‘Symphony in Soundwaves’, 24 July 2025. Design and alignment: Arne Bock and Tyler Soifer.The report on the Paris premiere of Elden Ring Symphonic Adventure highlights Arne Bock’s work with the orchestra, choir and effects distributed around the auditorium. Javier Gil Pérez writes the account for SoundTrackFest.
SoundTrackFest · Javier Gil Pérez ↗Report on the Paris concert of 13 January 2024, published on 14 January. Concert production: Overlook Events.
The short film brings together Felipe Giuliano’s direction, Pedro Giuliano’s visual effects compositing, Djalal Dufetelle’s modelling and Arne Bock’s mixing. The production combines green-screen filming, compositing and digital environments.
Madrid Produce · film details ↗El vals sin nombre poster · Madrid Produce dossier.Director: Felipe Giuliano. Visual effects compositing: Pedro Giuliano. Modelling supervision / 3D and matte painting: Djalal Dufetelle. Mixing: Arne Bock. Producers: David Torres and Bruno G. Arantes; The Other Films and Madrid Produce. Technical director: Bruno G. Arantes. Full credits on the film page.Heiner Goebbels’s work reaches the Museo Reina Sofía as an installation. Arne Bock realises the sound for this version, working with Heiner Goebbels and Rene Liebert, who is responsible for the video.
Heiner Goebbels · installation credits ↗Installation, June 2023: sound realisation by Arne Bock; video by Rene Liebert. The sound designer of the original stage production is Willi Bopp.Arne Bock is the sound designer for Antarctica, Mary Finsterer’s opera presented at Holland Festival. The production brings together Sydney Chamber Opera and Asko|Schönberg.
Holland Festival · artistic credits ↗Sound design: Arne Bock. Composition: Mary Finsterer. Production: Sydney Chamber Opera, Asko|Schönberg and Holland Festival.The Royal Conservatoire in The Hague features both professionals in its Music Production for Interactive Media symposium. Their presentation explores how creative intent can guide audio technology choices, with binaural examples and interactive applications.
Koninklijk Conservatorium Den Haag · Music Production for Interactive Media ↗Tools for Creativity — Choosing the Right Technology for Being Creative in Immersive and Interactive Applications. Arne Bock y Thilo Schaller. Programa oficial del Royal Conservatoire de La Haya.Documentation reviewed on 28 October 2026.