Exploring Will Ward’s Music Evolution

Will Ward is an award winning sound designer, composer and mix engineer with over 15 years experience, working in audio post production.

His years spent training at Lipsync Post and Tamborine Productions gave him a solid grounding in audio post production and an informed understanding of industry processes. This enables a quick and reliable turnaround across all projects.

His enthusiasm and passion for sound translates into everything he does. He has released music under his own name as well as Circle Traps and Xoros, releasing records on a number of labels and performing internationally.

Resident Advisor recently described his music as "a vivid mix of brutality and beauty."

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Will> I usually go with my gut instinct first – it's served me well over the years. Getting as much client detail as possible, upfront, is super important. I take in all the info, break down any references, try and understand what it is about the refs that they like and then have a crack at it.. don't over think it.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity – what are your thoughts on this? Do you prefer to work solo or with a team – and what are some of your most memorable professional collaborations?

Will> Absolutely, music and sound are highly collaborative. I enjoy both solo and team work. Some of my best times professionally have been collaborating with Jack Wyllie (founding partner at 19 Sound) on films and ads. I also value solo time for deep dives into projects.

Working with Anima Films, our long-time professional collaborators, on their recent feature documentary was a particularly fulfilling experience. We poured our hearts into scoring, mixing, and sound designing the film, and the many days and nights spent fine-tuning ideas made it a truly enriching journey for me, both personally and professionally.

Going a bit further back and remembering the days of collaborating with my pals in Circle Traps and in particular playing live at Berghain with them, was a really memorable experience.

LBB> What’s the most satisfying part of your job and why?

Will> It's definitely the variety. Every project throws up a new challenge, and that means I'm always learning and exploring things in ways I haven't before. It's really exhilarating to be constantly pushed to grow creatively.

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Will> The advertising industry is changing rapidly, and I think one of the biggest influences on the role of music and sound is undeniably TikTok and platforms like it. Short-form video has completely reshaped how we consume content. This means music and sound need to be immediate, attention-grabbing, and often very specific to trends or challenges. We’re seeing a shift towards more dynamic, impactful audio that can work in those short bursts and stand out amidst a sea of other videos. It’s about creating something instantly recognisable and engaging, which sometimes means simpler, catchier sound design or music – though, it can also mean pushing boundaries and experimenting with the latest audio trends.

LBB> Who are your musical or audio heroes and why?

Will> That's a long list! To name a few who have really shaped my thinking, I’d have to say Brian Eno, Burial, Steve Reich, William Basinski, Boards of Canada, Jon Hassel, Surgeon, and so on. What strikes me most about these artists is their individuality and their unique approach to creating music. Eno especially as he helped me appreciate, early on, the power of the studio as a musical tool. They've each had a profound influence on my life and my career, showing me different possibilities and ways of thinking about sound.

LBB> And when it comes to your particular field, whether sound design or composing, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Will> For sure, there are definitely key figures who inspire me. I'm hugely inspired by the work of people like Ren Klyce and Mark Mangini in sound design. They're just incredible. In both sound design and composing, what influences me often depends on the project. If it's a simple mix, I tend to think back to my early teachers and the engineers who trained me. Kode 9, who tutored me at uni and then Paul Cotterall once I started working in the industry professionally. Remembering their work and teaching is always a good starting point. For more creative, compositional stuff, I think it’s super important to keep an eye on what my peers are doing. Places like Wave, String and Tins, Factory – they all set a really high standard. I try to stay aware of what's going on beyond my own studio, to keep pushing myself.

LBB> When you’re working on something that isn’t directly sound design or music (lets say going through client briefs or answering emails) – are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Will> Absolute silence! That's the only way I can get through admin work. I've tried having music on in the background, but I find it incredibly distracting. I actually treasure the moments when I do get to listen to music or podcasts, like when I'm cooking or commuting – that feels like a real treat. That's my dedicated, leisure-listening time.

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Will> Honestly, I try not to let it affect my approach too much. My focus is always on creating the best possible work. Whether it's destined for a surround sound system or someone's phone, I want the detail of the mix to come through. People will always have different playback setups compared to a professional studio. So, my job is to deliver the highest quality product I can. Once it leaves the studio, it's really up to the audience how they choose to experience it.

LBB> On a typical day, what does your ‘listening diet’ look like?

Will> My listening habits really vary throughout the day. If I'm cooking, I'm usually tuned into podcasts. When I'm traveling and need a bit of energy, I'll go for my ‘TECHNO TECHNO’ playlist or something similar. Sometimes I'm in a Hip Hop mood, and it's Wu-Tang, Nas, Gang Starr, that sort of thing. But honestly, when commuting, it could be anything – I've got playlists covering all sorts of genres, so it really just depends on how I'm feeling at the time. If I'm home and my five year old gets hold of the phone, we're in for a deep dive into Pokemon rap battles. This has affected my algorithms in a serious way!

LBB> Do you have a collection of music/sounds and what shape does it take (are you a vinyl nerd, do you have hard drives full of random bird sounds, are you a hyper-organised Spotify-er…)?

Will> Haha, it's a bit of everything actually. I've definitely got some vinyl – mostly old Jungle records from my younger days. These days, I’m on Spotify a lot and keep loads of genre-specific playlists, plus a constantly updated 'best new finds' list. And yes, I absolutely have a big sound effects library filled with all sorts of random sounds. I've made a personal rule to record anything that grabs my ear, whether it's on my phone or with my Zoom recorder. So, yeah, a mix of vinyl, digital playlists, and a massive collection of unique sound recordings

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music (e.g. history buffs who love music that can help you travel through time, gamers who love interactive sound design… I mean it really could be anything!!)

Will> I'm really excited by all forms of art. My wife is an artist, so I get to see that creativity up close, which is amazing. I'm particularly fascinated by architecture and how spaces influence our feelings and experiences of being in a place. I think any art, whether it's a painting or a building, is connected to a specific time and place. That time and space inevitably shapes the sonic environment that's created there. So, yeah, I do definitely see a link between other art forms and how they relate to music and sound.

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do – I’d love to know what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Will> One memory really stands out for me. Back in my late teens, I was in Granada, Spain, with a friend's family. We were enjoying some beers with a view of the Alhambra when a live flamenco group just appeared and started playing right in front of us. The setting, the pureness of the performance – it was like reality shifted. That experience has always stayed with me.

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Will> I'm sure this is true for a lot of people of my generation, but as life goes on, things become more busy, and family focussed, so the idea of going to a gig on a whim, or writing tunes till four in the morning, is a thing of the past. I have to be a lot more organised with my time and compartmentalise things.

However, I do feel very lucky that I get to use the skill set that I’ve developed throughout my life and apply it in a more structured, professional way. While the intensity and spontaneity might have shifted, my passion for sound and music remains. It's become a part of my work, a way to provide for my family, and a constant source of creative exploration. It's a different relationship now, perhaps less impulsive, but no less fulfilling.