# Audio Appreciation: Six Great Pinball Sound Designers Who Shaped the Sounds of the Game

**Source:** Kineticist  
**Type:** article  
**Published:** 2025-07-15  
**Beat:** Pinball

**URL:** https://www.kineticist.com/post/6-great-pinball-sound-designers

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## Analysis

An appreciation article highlighting six influential pinball sound designers across eras: Chris Granner and Bill Parod (Williams DCS pioneer), David Thiel (Data East/Stern/JJP), Brian Schmidt (Data East/SEGA BSMT system), Dan Forden (Williams/Bally, later Mortal Kombat), Vince Pontarelli (90s Williams guitarist), and Jerry Thompson (modern Stern). The author emphasizes how sound design has evolved from EM-era chimes to sophisticated digital compositions that define the modern pinball experience.

### Key Claims

- [HIGH] Chris Granner and Bill Parod were responsible for some of the earliest full audio tracks in pinball including Road Kings and PIN*BOT, and were heavily involved in Williams' DCS sound system debut on Indiana Jones — _Author presents as established historical fact about Williams sound design evolution_
- [HIGH] David Thiel's career spans from Gottlieb's Q*Bert's Quest through Data East work to modern Stern/JJP/CGC/American Pinball projects including Harry Potter — _Author documents Thiel's filmography chronologically as a known industry figure_
- [HIGH] Brian Schmidt created the BSMT sound system (Brian Schmidt's Mouse Trap) at Data East, which was used on almost every Data East/SEGA table — _Author presents as established technical/historical fact about hardware naming_
- [HIGH] Dan Forden worked on Williams/Bally pinball machines as sound designer before his Mortal Kombat work, composing Black Knight 2000's hair metal theme — _Author establishes Forden's pinball career pre-MK as historical fact_
- [HIGH] Jerry Thompson joined Stern in 2015 and is 'essentially the face of Stern Pinball's sound design at this point' — _Author presents as current industry observation about Thompson's role at Stern_
- [HIGH] Vince Pontarelli's guitar work appears on 1993+ Williams/Bally machines starting with Judge Dredd, one of the earliest DCS sound system machines — _Author documents Pontarelli's timeline and contributions as established fact_
- [MEDIUM] David Thiel's work on Data East tables like Time Machine and Monday Night Football 'holds up incredibly well' with dynamic audio that changes with current music pitch — _Author expresses personal opinion while making technical claim about the audio design approach_

### Notable Quotes

> "If you've played an 80s or 90s Williams table, chances are you've heard the work of Chris Granner without even realizing it!"
> — **Author (Kineticist)**
> _Establishes Granner's pervasive influence on Williams' sound design era_

> "It could be argued that without Chris Granner and by extension Bill Parod, pinball sound design wouldn't be anywhere near the level that it is today."
> — **Author (Kineticist)**
> _Positions these designers as foundational to modern pinball audio quality_

> "David Thiel's work, even on his 80s tables for Data East, holds up incredibly well; I recommend anyone reading this to give the audio on Time Machine or Monday Night Football a listen"
> — **Author (Kineticist)**
> _Author advocates for specific Data East titles as exemplary sound design; personal bias disclosed_

> "Brian Schmidt might be the only designer here to have an entire sound card named after him!"
> — **Author (Kineticist)**
> _Highlights Schmidt's technical/hardware legacy with the BSMT system_

> "Dan Forden's tracks go above and beyond with incorporating the machine's themes into their composition."
> — **Author (Kineticist)**
> _Characterizes Forden's design philosophy as thematic integration_

> "Jerry Thompson understands the importance of hooking players in with sounds that make you feel like you're progressing through the game regardless of skill level."
> — **Author (Kineticist)**
> _Articulates Thompson's design philosophy: accessibility and player engagement through audio feedback_

> "Making the gong feel good to hit is a talent that can only be accomplished by a great sound designer, and Thompson more than fulfills this role."
> — **Author (Kineticist)**
> _Praises Thompson's specific contribution to King Kong's satisfying feedback design_

### Entities

| Name | Type | Context |
|------|------|---------|
| Chris Granner | person | Williams sound designer; pioneered early full audio tracks for Road Kings, PIN*BOT; involved in DCS system development |
| Bill Parod | person | Williams sound designer; collaborated with Chris Granner on early audio tracks and DCS system |
| David Thiel | person | Sound designer with career spanning Gottlieb, Data East, Stern, JJP, CGC, American Pinball; known for Harry Potter, TRON: Legacy, Pulp Fiction audio |
| Brian Schmidt | person | Data East/SEGA sound designer; created BSMT sound system (Brian Schmidt's Mouse Trap); joined Williams 1990, returned to Stern after Data East closure |
| Dan Forden | person | Williams/Bally sound designer before Mortal Kombat; known for Black Knight 2000 hair metal theme and thematic audio integration |
| Vince Pontarelli | person | Guitarist/sound designer; contributed to Williams/Bally machines from 1993 onwards including Judge Dredd, Monster Bash, No Good Gofers |
| Jerry Thompson | person | Stern sound designer since 2015; described as 'essentially the face of Stern Pinball's sound design'; worked on Godzilla and King Kong: Myth of Terror Island |
| Williams | company | Pinball manufacturer; employed Granner, Forden, Pontarelli, Schmidt; developed DCS sound system; closed 1999 |
| Data East | company | Pinball manufacturer; employed David Thiel and Brian Schmidt; used BSMT sound system; closed 1999 |
| Stern Pinball | company | Modern pinball manufacturer; employed/employs David Thiel, Jerry Thompson; sound design face of modern industry |
| Jersey Jack Pinball | company | Boutique manufacturer; employed David Thiel for Harry Potter pinball audio |
| American Pinball | company | Boutique manufacturer; worked with David Thiel on Barry O's BBQ Challenge audio |
| Chicago Gaming Company | company | Manufacturer; worked with David Thiel on Pulp Fiction audio |
| Road Kings | game | Williams pinball; Chris Granner audio work |
| PIN*BOT | game | Williams pinball; Chris Granner audio work |
| Indiana Jones: The Pinball Adventure | game | Williams DCS sound system debut; Chris Granner involvement |
| Harry Potter | game | Jersey Jack Pinball; David Thiel audio design |
| Pulp Fiction | game | CGC pinball; David Thiel freelance audio |
| King Kong: Myth of Terror Island | game | Stern pinball; Jerry Thompson audio design |
| Godzilla | game | Data East pinball; Brian Schmidt sound design comparison point; author praises iconic sound effects |
| TRON: Legacy | game | Stern pinball; David Thiel audio with callbacks to earlier pinball sound design |
| Black Knight 2000 | game | Williams pinball; Dan Forden hair metal themed composition; described as one of most famous tracks in pinball history |
| Judge Dredd | game | Williams pinball (1993); Vince Pontarelli guitar work; early DCS sound system machine; described as 'one of Williams' best sound packages ever' |
| DCS sound system | product | Williams digital sound technology; debuted on Indiana Jones; used on Judge Dredd and other 90s machines |
| BSMT sound system | product | Brian Schmidt's Mouse Trap; Data East/SEGA proprietary sound hardware; used on nearly all Data East/SEGA tables |

### Topics

- **Primary:** Sound design as central pillar of pinball experience, Evolution of pinball audio from EM chimes to digital compositions, Individual designer legacies and signature styles
- **Secondary:** Hardware sound systems (DCS, BSMT) enabling design evolution, Thematic integration in audio design approach, Player engagement through audio feedback and accessibility, Pinball manufacturer sound design capabilities across eras
- **Mentioned:** Nostalgia and longevity of classic pinball soundtracks

### Sentiment

**Positive** (0.85) — Author is deeply appreciative of all six designers, uses laudatory language ('iconic', 'stellar', 'incredible'), and frames sound design as essential to pinball's identity. Personal biases disclosed but framed positively. No criticism of any designer; focus is celebratory. Tone is informative and enthusiastic throughout.

### Signals

- **[community_signal]** Pinball sound design recognized as core to game identity and player experience; author self-identifies as passionate listener who champions machines specifically for audio design (confidence: high) — Author opening: 'I've found myself championing the sound design of tables even at locations where they might be tough to hear'; mentions regular listening to soundtracks outside of gameplay
- **[design_philosophy]** Vince Pontarelli's guitar-driven approach proved DCS system could handle high-fidelity original compositions; represented sound design as non-derivative and musically sophisticated (confidence: medium) — Author notes Pontarelli's work 'proved that DCS was a sound system with almost no limits' and his compositions made it into personal audio playlists
- **[design_philosophy]** Dan Forden prioritizes thematic integration, deliberately evoking source material (Alice Cooper for Bad Cats, 50s doo-wop for Mousin' Around) through sound composition (confidence: high) — Author notes Forden's tracks 'go above and beyond with incorporating the machine's themes into their composition' with specific thematic examples
- **[design_philosophy]** Jerry Thompson's approach focuses on hooking players through satisfying audio feedback that signals progression regardless of skill level; contrasts with earlier composers' approaches (confidence: high) — Author characterizes Thompson: 'understands the importance of hooking players in with sounds that make you feel like you're progressing through the game regardless of skill level'
- **[personnel_signal]** Jerry Thompson as current 'face of Stern Pinball's sound design' suggests Stern's centralized audio vision; represents modern era continuation of Williams/Data East tradition (confidence: high) — Author: 'Jerry Thompson is essentially the face of Stern Pinball's sound design at this point' (joined 2015)
- **[technology_signal]** DCS sound system (Williams) and BSMT system (Data East) represented major leaps in pinball audio capability, enabling composers to move beyond single-track limitations (confidence: high) — Multiple designer careers traced through hardware transitions; BSMT named after Brian Schmidt; DCS enabling Pontarelli's 'almost no limits' work

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## Transcript

Pinball wouldn’t be pinball without sound design. The chimes of the EM pinball machines of the 60s & 70s are still eponymous with the game to this day, but as the industry evolved and the capabilities of pinball machines improved, sound design did along with it. In my 10+ years of playing pinball, I’ve found myself championing the sound design of tables even at locations where they might be tough to hear; and though you might see me wearing headphones a lot, sometimes I’ll just be listening to what I can of the machine’s audio.
For this article I wanted to highlight 6 of the all-time great pinball sound designers, regarding both music and shot sound design. The designers will mostly range from the 80s up until today, though I will touch on some of the sound designers who made older pinball machines iconic for their own reasons.
Chris Granner
If you’ve played an 80s or 90s Williams table, chances are you’ve heard the work of Chris Granner without even realizing it! Granner was responsible for some of the earliest full audio tracks in pinball, including the ones played on Road Kings and PIN*BOT, with the help of Bill Parod. He was also heavily involved during the early production of Williams’ DCS sound system, which debuted on Indiana Hilton Jones: The Pinball Adventure and pushed pinball sound design to new levels.
A ton of Granner’s work remains iconic – my personal favorite works of his are the myriad of excellent tracks on Whirlwind including one of the all-time classic jackpot collected themes, and the excellent main play theme on White Water that changes with every raft advanced. It could be argued that without Chris Granner and by extension Bill Parod, pinball sound design wouldn’t be anywhere near the level that it is today.
David Thiel
David Thiel’s name has been spreading around the pinball circuit ever since it was announced he was doing the audio for JJP’s Harry Potter pinball machine, and he’s had quite the history before working on that table, dating back to Gottlieb’s Q*Bert’s Quest. Thiel became a consistent name in pinball sound when he joined Data East and worked with their stereo sound equipment, which debuted on their first ever pinball machine, Laser War. After taking a break from pinball for most of the 1990s and 2000s, Thiel would return to Stern Pinball and make a name for himself with sound design that bridged the gap between subtle sound effects referencing the machine’s theme and full-blown exciting compositions. He also worked for JJP for a short time prior to the Harry Potter release and provided freelance audio for CGC’s Pulp Fiction and American Pinball's Barry O’s BBQ Challenge.
I’ll fully admit I’m quite biased here as I feel that David Thiel’s work, even on his 80s tables for Data East, holds up incredibly well; I recommend anyone reading this to give the audio on Time Machine or Monday Night Football a listen, which dynamically changes to accompany the pitch of the current music. We also have him to thank for the excellent audio on Stern’s TRON: Legacy, purposefully calling back to sound design from earlier pinball machines but also evolving sound design in a way that wasn’t possible on those earlier tables.
Brian Schmidt
Brian Schmidt might be the only designer here to have an entire sound card named after him! If you’ve played a Data East or SEGA table, you might be familiar with the BSMT sound system (the abbreviation is short for “Brian Schmidt’s Mouse Trap”), and his audio can be heard on almost every table they released. Before working for Data East starting in 1990, he got his career started at Williams with a bang as lead sound designer on Space Station and Banzai Run. He would return to Stern after a short break from pinball following the shutdown of Data East / SEGA in 1999.
Schmidt’s audio is distinguished by its high energy, with some of his tracks being the fastest tempo tracks on any table. Despite the inherent limitations of the BSMT sound system, Schmidt was able to push through and produce some stellar tracks. My personal favorite works of his outside of his recreations of existing music are his soundtrack for Checkpoint, a passion project with six tracks of different styles and generic tracks; the jackpot collected theme from Rocky & Bullwinkle that remixes the show’s credits theme to an absurd degree; and the audio he created for The X-Files that utilizes some of the instruments used in the show’s iconic intro theme to create entirely new pieces.
Dan Forden
You read this right – before working on Mortal Kombat, Dan Forden worked on many Williams & Bally pinball machines as a sound designer! His earliest success was composing the hair metal influenced main theme to Black Knight 2000, one of the most famous tracks in pinball history, and he continued to contribute audio to Williams up until their 1999 closure.
Forden’s tracks go above and beyond with incorporating the machine’s themes into their composition. My absolute favorite examples are his audio for Bad Cats, which intentionally evokes the Alice Cooper song “Gutter Cat & the Jets”, and the 50s doo-wop inspired audio for Mousin’ Around! that perfectly fits its cartoony art style. Forden was also capable of creating solid recreations of real songs using the Williams sound design, as both The Party Zone and The Getaway: High Speed II prove.
Vince Pontarelli
Ever played a pinball machine and thought to yourself “wow, this machine rocks”? Chances are, if you hear an electric guitar on a 90s Williams table, you have Vince Pontarelli to thank. Pontarelli lent his guitarist talents to Williams & Bally starting with their 1993 pinball machine, Judge Dredd, one of the earliest pinball machines to use the DCS sound system and one of Williams’ best sound packages ever created. You can also hear his music on World Cup Soccer during the multiball theme, and throughout the entirety of Monster Bash. He also helped contribute guitar samples to machines like Corvette that otherwise had sound design led by other composers.
There’s not a lot of pinball music I listen to regularly outside of playing the machine, but Pontarelli’s work has made it into my audio playlists on a regular basis, and his work proved that DCS was a sound system with almost no limits. As I mentioned earlier, Judge Dredd’s entire soundtrack provides a strong first impression for him, with the standouts being the slow & moody main play tune, and the hectic multiball & ultimate challenge themes. He also did an amazing job with the audio on No Good Gofers, contributing some rocking guitar themes for starting multiball and scoring a super jackpot.
Jerry Thompson
The last sound designer on our list is an interesting case, and is the most recent of all of the designers, having joined Stern in 2015. Like some of the designers before him, Jerry Thompson’s work isn’t entirely original, using some existing music associated with the license and some found via production music libraries; but does it really matter when you’re *this* good at sound design? Thompson is essentially the face of Stern Pinball’s sound design at this point and understands the importance of hooking players in with sounds that make you feel like you’re progressing through the game regardless of skill level.
Oddly I would best compare Thompson’s work to Brian Schmidt’s sound design for Data East’s 90s tables. A lot of the sound effects on those are very recognizable especially after having played them enough, and as a massive fan of Godzilla I can certifiably claim that sounds like the audio for hitting the upper loop repeatedly or collecting an imposter battle award are iconic and deserve to be ranked up there with some of the best sounds in pinball. The music in the table isn’t too shabby either, with special mentions going to the rocking audio during monster rampage and the intense tracks that play throughout both planet X and king of the monsters wizard modes. Thompson’s work on King Kong: Myth of Terror Island is no different; making the gong feel good to hit is a talent that can only be accomplished by a great sound designer, and Thompson more than fulfills this role.

_(Acquisition: web_scrape, Enrichment: v1)_

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*Exported from Journalist Tool on 2026-04-13 | Item ID: 5dd4587b-1b9d-4540-86f1-bb599ec1afb5*