Michael Thomas Will Rummage Through a Neighbour’s Leaves to Get the Perfect Sound
Sound influences our lives. It informs our decisions. It lets us know when it's okay to cross the street, if it’s time to go to class, whether or not our neighbour’s party is continuing into the early hours of the morning.
For Michael Thomas, sound isn’t just an alarm or footsteps, but his tool in creating believable worlds within 30-60 seconds. Before Mosaic, he worked for Cutting Edge as a senior sound designer. In 2018, he worked as a sound designer on the documentary ‘Wik vs Queensland’. The story was about the very personal story of the Wik People of Cape York and the High Court of Australia’s decision to grant native title.
His advertising work can be seen in Howatson+Company work for Tyro as well as the Allianz Olympics work, and Clemenger BBDO’s Myer Christmas campaign.
Here, he speaks to LBB’s Casey Martin about how he accidentally landed in sound design, and why being in charge of finding the perfect balance for a project is his favourite thing.
LBB > Why is sound important to you? How does it change the tone of a message and story?
Michael> I grew up glued to the TV and I think, even though I didn’t realise it at the time, the sound of those movies were a big part of my formative years. I don’t think I questioned where the sounds from Star Wars came from, they just felt like they were part of that world. So I think sound provides a bit of escapism.
And to me, that ‘world-building’ is why it’s so important. It’s just about the only thing that provides context as to what’s happening beyond the screen and works hand-in-hand with music to give us cues about how we’re supposed to respond.
LBB> How did you get started in the sound design space? And what is about sound design that kept you coming back for more?
Michael> I fell into it completely by accident. I grew up playing in punk bands in Brisbane and decided to study music technology at university with the goal of producing music. This was around the same time that recording gear was becoming far more accessible, people were recording albums from their bedrooms, and music streaming was just kicking off in a big way.
I think I realised about halfway through my degree that the idea of the ‘big music studio’ might not be around for much longer and a job might not be that easy to find. I don’t know if I was right about that, but it did prompt me to start looking more seriously into sound for film.
About a year after I finished uni, my course supervisor reached out with a job opportunity as a junior sound designer that he thought I might be a good fit for. I remember him warning me that it’d be a steep learning curve, but that it could also be a very fun job that would suit my talents. He was right about both.
In terms of what keeps me coming back for more, I love that it’s the perfect mix of creativity, technical skills, and collaboration. I get to work with people and help them bring their ideas to life in a very creative way, and I also get to nerd out on the technology side of sound.
LBB> What is a sound design project that you are most proud of? What did you learn during this process and why has it stuck with you?
Michael> I don’t think I have a single project that I’m most proud of, but the projects of mine that stand out or that I reference regularly are all projects where the director or creative has given me the freedom to explore and provided me with a sense of ownership over a project.
And all of those projects have also taught me that two pairs of ears are so much better than one. It’s so hard to stay objective when working creatively, but presenting your work to someone else seems to reset that objectivity. It’s so strange, they don’t even need to say anything, but the act of presenting allows me to find those moments that aren’t right just yet.
LBB> How would you describe your job to someone outside of the industry?
Michael> I’d describe myself as being in charge of creating and balancing the ‘sound’ of a project. That might be as simple as working with a director or creative to capture the right tone and performance of a voice-over, it might be designing soundscapes that support the narrative of a TV series, or it can be helping to craft the sonic ‘identity’ for a brand so that they have consistent sounds across all of their media.
I’ve also found a great analogy is a comparison to how we hear: our ears pick up everything happening around us, and then our brain makes sense of it so we can prioritise what’s important and filter out the background noise. It’s why we can still have a quiet conversation with someone in the middle of a crowded space. Microphones are pretty much the same as ears, but it’s my job to make sense of what gets captured and prioritise what we should be focusing on.
LBB> How does sound design change from long form to short form?
Michael> The short answer is - it doesn’t really. Regardless of the length I’m still just trying to create sounds that support that narrative or achieve the brief, the ways of achieving that are the same, and we scrutinise both formats in the same way.
A film or TV series usually involves a team of sound engineers working in discrete roles and obviously requires a lot more work. But often with those projects you’ll go off and work by yourself for days or weeks before incorporating everything into the final mix. Shortform can be a bit more ‘fly by the seat of your pants’, but it does make you really confident at making quick decisions. I might need to go from a blank canvas to a finished mix within a few hours while people sit in the room with me.
LBB> When working on a 30-60 second spot, how does sound play a role in the creative process? How can sound amplify a message?
Michael>I think sound is a pretty abstract thing actually. Most people don’t necessarily have the language to describe why something doesn’t sound right or what it is they’re after, which is great actually because, in terms of the creative process, most of the conversations end up being about how we want the sound to make us feel or respond.
And I think sound amplifies a message best when it’s the simplest version of the idea. I love when people bring us on early to discuss sound, whether during the edit or even at the scripting stage, because it allows us to make suggestions about simplifying things to achieve the most effective version, particularly when we only have 30 seconds to get an idea across. I really like crafting details, but the absence of sound can be pretty powerful too.
LBB> What is something unique that Mosaic offers to the industry?
Michael> Collaboration has been key, and I think we try to blur the lines between composition and sound design further than most. Crafting the final mix is a back-and-forth process - the voice-over, or how I choose and place sound effects, can influence the music, and the music can shape those choices in return.
Instead of settling for compromises, Adam and I take turns jumping in and out of the ‘chair’ during these sessions, so he can tweak the composition to fit the mix as we go. People have been really receptive to this kind of workflow, knowing that nothing is really out of the question at any point during the process, the sound and music aren’t final until they’re both working together to support the project.
LBB> What is your favourite thing about the industry?
Michael> The absolutely weird and wonderful things I get to do to try and find the right sound to bring a project to life. I’ve been caught rummaging through a neighbour’s yard for leaves to foley animal movements for a wildlife series, recorded entirely serious covers of popular songs with ridiculous lyrics, and turned speakers into microphones to create unique effects.
I also love, and am always surprised by, how willing people are to jump behind a microphone and make some weird sound or record an extra voice that we might need - no matter their role. I think letting people behind the curtain and involving them in the process is a powerful thing.
