Gablyasz Edina Lilla
Sound Art & Design · Music · Audio Engineering
About
Hi! I’m Lily, currently studying Sound Design at the Academy of Performing Arts in Bratislava, Slovakia. Alongside my studies, I work as a musician, performing my own songs at festivals, workshops, and other events. This site showcases selected examples of my work in sound, music, and performance.
Workers Leaving the Lumière Factory
This project involved creating a complete sound design for a famous silent short film by the Lumière brothers, structured in four distinct layers.
The first layer reconstructs the café environment from which the film was shot, including ambient chatter, background activity, and the sound of the old camera. This layer was composed entirely in mono.
The second layer focuses on post-synchronization of the on-screen actions, such as footsteps, dogs, and the horse-drawn carriage. For this section, stereo panning was used to enhance spatial perception.
The third layer departs from realism and introduces a quadraphonic soundscape. It consists of five imagined objects that selected workers leaving the factory could be carrying “in their minds,” creating an abstract and immersive listening experience.
The final layer is a spoken poem, performed by myself and transformed through post-production techniques such as pitch-shifting and distortion. The voice is placed at the listening point, and the visual component was later removed to allow the soundscape to be experienced in isolation.
This is a downmixed stereo version of the project for compatibility.
Flowers Are Silent Between Sisters
(Kvety mlčia medzi sestrami)
In this project I had to create the complete sound design for a 12-minute short film adaptation of Bergman’s story The Silence. The extract included in my portfolio represents roughly 4 minutes of the film. The production spanned three intense shooting days, challenging me to combine technical precision with creative problem-solving. The resulting sound design complemented the visual narrative and was recognized at the local Áčko Film Festival.
My responsibilities covered the full sound workflow: planning, recording, and postproduction. During the planning stage, I determined the necessary equipment and strategies for capturing clear dialogue and ambient sound. On set, I creatively positioned microphones to ensure clarity, while supervising and navigating an assistant.
In postproduction, I edited the recordings to remove unwanted sounds such as handling noise, peaks, and cracks. I cut and aligned dialogues and foley recordings, added post-synchronized foley and ambient layers, and integrated music composed and performed by a peer. This process enhanced the storytelling while maintaining a clear, immersive soundscape.
yourfate.sk
(tvojosud.sk)
This piece is from a 37 minute radio play that aired on the local radio Devín as a part of the program "Fórum mladých autorov" (Young Creators' Forum) in June 2025 . I was responsible for the complete sound design and all the recordings. After receiving the script I developed the sound concept and, together with the director, finalized the dramaturgical approach to the sound design. We recorded the dialogues at the Slovak Radio Building where we also held our test listening sessions later.
After editing the dialogue, I added and shaped the essential sound effects, allowing the characters to come to life and the story become easily imaginable for the listeners. To enhance the listening experience, I added special sound elements to psychologically support the characters. Before the final mix I created and recorded a musical background to strengthen the emotional impact and create a smoother narrative flow.
The section presented here shows the protagonist listening to a video meditation. As she falls asleep she experiences the imagery described by the coach: she is flying, observing her body lying on the bed, transformed into a thick layer of asphalt. Beneath it, soil emerges, followed by grass breaking through the surface, cracking the asphalt and turning into a beautiful field of flowers. Then she can return to her body as a strong white light, ready to wake up after her spiritual rebirth.
equililibrium
Day after day, over and over again. Again and again. Constantly. And everything hidden behind the scenes. Alone. Or maybe not. I am never completely alone. It lives in my head. It has always been there, and it will remain there forever. After all, sound only has meaning because of silence.
My sound self-portrait offers an opportunity to immerse oneself in the labyrinth of my inner sounds. It invites the listener to seek balance between the outer and inner sound spaces. Endlessly.
The task was to create a sound self-portrait as a free artwork against perfection. I began by writing a concept, trying to capture the central idea. My intention was to create a chaos of sounds I come across regularly, losing control of my inner negative voices then seemingly gaining it back through the love and care I experience from friends.
After developing a plan, I began collecting sounds. As it had to be against perfection, sometimes I just used my phone’s recorder to capture an interesting sound. I also searched through my old recordings, for example the flute at the beginning is an early version of a melody I composed for a theatre play. I aimed to include as many personal recordings as possible, to enhance the “self” aspect of my self-portrait. Each sound carries a personal significance. Among others the flute, the choir I sang in, my pet parrot, the piano and my friends.
To take the chaos to another level, the sounds gradually lose their concreteness transforming into an abstract, immersive sonic experience. This I created using the structure of a piano. Instead of the keys the strings were used with reverb to achieve the desired effect. Panning also played a crucial role, guiding the listener to perceive the scene, get momentarily lost or even annoyed, and ultimately find a way back - just as I do.
The video was created by an editor, relying entirely on the sounds and ideas I provided.
I Have Nothing to Say
(Nincs mit mondanom)
This song was written in 2024. Whenever a feeling becomes too heavy to process on its own, I write it into a song. It begins with the emotion, then I sit down at an instrument to compose. Once the melody emerges, I already hear how certain words should sound in my head and it’s only a matter of time I find them.
After finalizing the main melody and lyrics, I recorded all parts myself, including piano, flute, violin, and vocals. I then built the musical space around the song, carefully adjusting volume levels, applying supporting EQ and reverb, and shaping a consistent sound. The last step was creating the spatial stereo effect I envisioned.
After sharing it with friends and family, I performed the song, along with my other pieces, at several events and concerts, always receiving positive feedback.
The lyrics translated to English:
night after day
with infinite highlights
inescapable and incapable lives
never-ending standing
turning against the wind
bloodstained details
jointly or apart
love is on the run
there is no better thing to do
nobody mentioned
but everyone wondered
perhaps it would be better like this
why do I not see even when I stare?
why do the lights keep blinding me bare?
maybe I’m asking for too much
please let me know when it’s finally over
when I can look up and bring the sky closer
I will stick around either way
I have nothing to say, but I really want to speak
shake somebody’s shoulders so they would want to seek
if the world is nobody’s concern
why did God still decide to work?
why did he decide to work at all
if all answers ring “maybe” for the call?
tell me what’s the point of me being here
if everything accumulates except for what is clear
day after night
should I be in awe now?
with hundreds of sheets
rain is starting
glance at the ending
cast out by the dawn
unwanted feeling
into your iris I’m glaring
improvement will not be there
today at least the day ended
today, finally, I’m expected
skygazing until your breathing slows.