Thinking in Sound: Finding a Unique Sonic Identity with Brian Battersby

Brian Battersby is a commercial audio mixer who specialises in creating the bespoke soundscapes of world-renowned campaigns for brands such as Serta, Nintendo, US Cellular, CITI, Visionworks, Pantene, JOAH, Pepsi, Siemens, American Airlines, Soulcycle, Maytag, Facebook Messenger, Gain, SoftwareOne, Snyders, Prose, Laura Mercier, SaksOff5th, Beneful, and Dawn.

Brian regularly collaborates with agencies such as: PNY, SSNY, LB, BBH, Ogilvy, FKA, Grey, and more.

Special achievements include a Best Sound Editing nomination at the LA Indie Short Fest for “War Peace”. Brian has also collaborated as a re-recording mixer/sound editor on the documentary, ‘This is Paris’, and the television series, ‘Action Royale’.

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?

Brian> The first thing I do is cut in the backgrounds for the mix. I’ve found that if I start a project by establishing the ambience, the project and I can more easily “break the ice” and not focus on the challenges or the “how am I going to pull this off” aspect of the mix right off the bat. Not to mention cutting backgrounds first breathes so much life into the mix from square one.

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 gang - and what are some of your most memorable professional collaborations?

Brian> As a commercial mixer, you get to do a little of everything whether that be recording VO, sound editing, or, of course, mixing which tends to be a solitary act. Collaborating during a mix is never a solitary act however. I always try to get a sound brief ahead of time at the start of a project to suss out what direction or what the creatives are looking for. Setting those expectations first and foremost is crucial. The most memorable professional collaborations are the challenging projects where the outcome was something achieved by trial and error or trying something that wasn’t obvious. No one gets it right on the first try every time. And it is so rewarding being challenged by the creative and my colleagues.

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

Brian> The most satisfying part of the job, as I mentioned, is being challenged by the work, and figuring out how to make the mix sound the way it does in your head. The nature of our work is that no project is the same, and each brings its own challenges. That’s why I think you can never reach the summit, there’s just always another plateau.

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

Brian> I think sound is starting to become a focal point in the creative process, more so than it’s ever been. Especially when it comes to brands and their creative, it’s almost as if a “cinematic universe” exists for brands who tap into this and bring unique sonic identity throughout their creative.

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

Brian> I think Justin Vernon (of Bon Iver) is a musical demi-god. If you really listen, there’s just so much nuance in any project he’s involved in. With that much scrutiny, it’s blatantly apparent how much time, thought, and effort is put into making something that is worthy of going out into the world.

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?

Brian> Something I’ve been focusing on is to not gravitate towards libraries but instead recording sounds myself when I can. This just brings a sonic fingerprint to the mix that belongs to you.

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?

Brian> I tend to be completely distracted by background music or noise, maybe if I wasn’t mixing all day that would be a different story, but if I am answering emails some silence tends to be nice!

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?

Brian> That is a great point; every one of my mixes gets played back on a MacBook before it gets sent out. I think we sound professionals have to listen back to our work on other systems besides studio monitors. Most people aren’t listening on studio equipment, and it’s super important to know what your mix sounds like in other situations.

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

Brian> I tend to get hooked on two-three albums at a time. And then I rotate to another two-three, I’m not sure when that started, but I think I can call it a habit now. Right now, it’s ‘Loveless’ by My Bloody Valentine, ‘Reputation’ by our saviour Taylor Swift and ‘(watch my moves)’ by Kurt Vile.

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…)?

Brian> I grew up in the CD era, so I still have a ton of CDs in a box. There was just something so distinct about getting special editions of albums when they came out. And now that is the same with vinyl, but there’s some things that are just so cool to own and hold in your hand.

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!!)

Brian> At the start of the pandemic, I got back into tabletop wargaming, and miniature painting, something I was into growing up. And you thought my nerdom only ran as deep as audio… but there’s just so many lessons about creativity and failing to learn through an artistic medium. It’s just trial and error that’s what’s so great about artistic pursuits. With any art there is no mastery ever, no making it top of the summit, just reaching the next plateau.

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?

Brian> I would say anywhere you go can be inspiring, and if you stop and listen in any given environment, you can catalogue all the different sounds that are happening to recreate them the next time a project calls for the beach, a restaurant, etc.

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?

Brian> I’ve been lucky enough to be working with music and sound my entire professional career. I think my relationship with sound is that I just can’t see myself doing anything else, it’s just been a part of my life for so long, whether that has been playing in bands, recording music, live sound, or audio post. I am grateful to be able to do this for a living and have met truly wonderful people who have taught and mentored me, and I would not have made it this far without their help and support.

Thank you!