The Sound Mix Marathon Behind 4 Super Bowl Spots

Peter Erazmus is an accomplished audio engineer, sound designer, and mixer with over 20 years of experience in the business. Since 2015 he has been handling sound design and mixing in his native Chicago for audio studio Another Country, part of the Cutters Studios family. 

Over the last few years, Peter has worked on many Super Bowl ads, including 2024’s ‘Like a Good Neighbaaa’ spot for State Farm, which ranked number one in USA Today’s Super Bowl Ad Meter. This year Peter mixed four different Big Game ads: WeatherTech’s ‘Whatever Comes Your Way’, MSC Cruise Lines’ ‘Let's Holiday’, Lay's ‘The Little Farmer’ and Oikos’ ‘Airport’.

According to Peter, this is just as much work as it sounds. “Lots of hours, tiring, stressful at times, joyful at times. But seeing it all come together is rewarding,” he says. “Is there added pressure? Sure. There are more eyes on the work, more reviews, more opinions.”

While turnarounds can often be tight throughout the year, Peter likens the Big Game projects to a marathon, rather than a sprint, partly because of the deliverables – teasers and social cut-downs, etc. – that extend beyond the game-day spot itself. “Fortunately there is an amazing group of people behind the scenes at Another Country and Cutters Studios to help us stay on track. You're putting something out there on the biggest stage, and that's a thrill.”

This year, Peter also worked alongside the creative talents at agencies like FCB, Pinnacle and Super Bowl-specialists Highdive. And with each project came unique challenges. “That's what keeps things interesting,” he says, advising people to “work hard, be a good person and laugh when you can to keep the stress down.”

He adds, “On every project, not just Super Bowl ones, I try to add value where I can – over sound-design something, make another version of something if I think it could use it, try to think ahead about issues before they become bigger issues. I'd rather strip things back than be unprepared. It makes your session run smoother and shows you've thought about the project. 

“Ultimately I think that is appreciated. I've gotten to know and work with some great people over the years. If we can build trust with them and let them know we've got their backs, then we're doing our job.”

Reflecting on the work from Super Bowl LIX, which included some wild grannies wreaking havoc, celebrities comically sharing their European and American perspectives, a strong woman carrying a massive football player through an airport, and a sweet story of a young farmer, Peter says that he had a variety of asks to contend with. 

“Just as much as any other designer, I love making wild sounds and loading up on explosions; it's great. But what gives me equal joy is manufacturing some reality. Making everyone believe a scene just sounded like that on set can be just as satisfying. I got to do that on [Lay’s] ‘The Little Farmer’ where 95% of that reality was added in. This is a music-forward spot. That was always going to be the hero, but once we got into reviewing some design elements it felt like the sound design brought a little more life and sweetness to those scenes and the main character.”

Of course, one notorious challenge of Super Bowl advertising is that many people will watch the game surrounded by friends and family, meaning the ads are broadcast to millions of noisy households across the US, with no guarantee everyone is watching the screen, or listening, at all times. However, this doesn’t sway Peter’s approach.

“We of course strive throughout the year, on every project, to make them sonically as good as they can be. Clear dialogue always takes centre stage in any mix. The message is the goal in an ad. There can be a lot going on in a mix, especially action-packed sequences with lots of sound design. A mix requires dynamics, those peaks and valleys allow for those big moments to feel bigger. It gives the listener a more emotional response. It's how you naturally hear life around you.”

The trick, he explains, is to create those sonic moments all while allowing the dialogue in the spot to shine through. “We have techniques and tools at our disposal to help us achieve that. I have speakers blasting in my face all day long. I love listening to certain things loud at home too but, most of the time, I'm giving my ears a break and lowering the volume.

“I will say, TV on low in the background, sitting down for some dinner with the family, and a spot comes on that I or my colleagues have worked on? I hear every word, and that makes me happy.”