Pro Hello: Daryn Ady
When Daryn Ady was eight or nine years old, he became very interested in how radio works and why jingles and music beds sound so impressive. He figured this out after 12 years, once he had more experience in the field. Making audio ads and jingles, he knew that he was doing something unusual and creative, but it wasn’t until 2017 that he realised that what he was doing was, in fact, sound design.
Digging into the digital audio workstation Cakewalk Sonar, Daryn learnt that it was possible to import a video file and record props and processes with VST (Virtual Studio Technology). It only took him 30 minutes before he was happy with the result - then he started mailing. 99% of people didn’t respond. Honing the skill by studying, he plunged deeper into the business and gradually the first orders came through.
Now, Daryn works with directors and productions from Europe, the USA and Kazakhstan. He does sound design for moving image, working with directors such as Aisultan Seit, Medet, Zen Pace, Jocelyn Anquetil, Alan Badoev, Anatol Trofimov, Tom Dream, House-Post, Cut + Run, Qara Studios and more. He also did sound effects for Migos, Wiz Khalifa, GoldLink, IDLES, BBC, National Geographic, Nike, NFL, Puma, OnePlus, Dior, Vichy Laboratories, Pepsi, Sprite, Ferrari, BMW, Aston Martin, Air Jordan, Alfa Bank, MTS and other international brands. This year, Daryn's work for izi with the Ukrainian agency SHOTS was nominated for ‘Best Sound Design: 60 Seconds’ category at the AICP POST AWARD 2024 festival, and he became a member of 'Forbes 30 under 30' 2024.
Today, Daryn tells us about the moment realised he was already a sound designer, how he ventured into the industry, and some of the projects that have brought it all together.
LBB> What do you do, and where are you based?
My name is Daryn, and I am a founder of sound design studio ady.audio, which is based in East Kazakhstan, Semey.
LBB> What recent campaigns might we know you from, and what was your input on these campaigns?
A recent campaign of mine was for Hugo Boss. I did the sound design for two videos - one about karting, the other about a walk in London. The director provided very interesting music, and it was necessary to glue it all together by pulling synths that also sound like a car engine. It turned out to be a very good campaign.
LBB> How did you first get into the industry, and how did you realise what you wanted to do?
I first recorded and created hip-hop tracks and beats for local artists (and for myself) 10-11 years ago. On almost all these beats and tracks, I used sound effects like a car door opening and closing, police sirens, kitchen sounds for lo-fi, river, walla and various other simple sounds, not knowing that I had already started doing sound design.
LBB> Tell us about your journey so far.
After graduation from college in 2015 and working everywhere I could, I always returned to music. In my spare time I opened REAPER, FL Studio, Ableton, and was simply interested in new features and plugins. This was my hobby. Then, very casually, I got a job at a radio station, and there I discovered the more creative side of generating music and sound effects. I was delighted with all this, and came to the studio often - even on weekends! I started making audio advertising jingles, then after a couple of years, I applied all these techniques to video animation, people began to recognise me and I was invited to contribute to new work.
LBB> What projects / campaigns that you’ve been involved in have been the most personally satisfying to work on, and why?
My favourite campaign is PACSUN with A$AP Rocky, directed by Aisultan Seit. He said that, in addition to the usual foley, we also needed some kind of psychedelic sound design, so I made three versions over the course of a month. The third one was approved. For me, it was a large-scale and brilliant project.
LBB> What’s been your proudest achievement?
At the beginning of 2018, I started designing sounds and composing music for motion design videos, and focused specifically on this style. But when the first commercial orders came, the directors sent me filming videos and computer graphics for sound design, and since then I have been mainly making sound and music in this direction. Now I work with European, American and Kazakhstan productions.
LBB> What do people (clients, agencies etc) come to you for specifically?
I think that clients come to me for good communication and timely delivery of work. Also, I like to process sounds three-dimensionally, and craft immersive soundscapes. Perhaps because of this.
LBB> What are your strongest opinions relating to your specific field?
So far, it seems to me that artificial intelligence does not replace full audio post-production and there is no need to be afraid of it. Maybe this is a good tool for editors. I still like to record and process sounds using VST plug-ins and hardware.
LBB> What sort of projects really get you excited at the moment?
I’m worried about practically every project. Whether it’s working for the NFL, Porsche or advertising a local drinks brand. Each project is unique, and I like to listen to them when they’re released on TV or social networks.
LBB> Who are your creative heroes, and why?
Ben Burtt and Mark Mangini. They have created the innovative sound design for many iconic films!
LBB> Outside of the day job, what fuels your creativity?
Everything that surrounds me is very inspiring. TV shows, movies, walking and exploring the city while travelling, meeting and talking with people from different fields. I would also like to say thanks to all the audio-programmers and engineers who create plug-ins and hardware for us!
