Thinking in Sound: Oliver Wickham on Following the Plan and the Path That’s Been Laid Out for You
Oliver Wickham has a deep understanding of every facet of the recording process - because he’s an accomplished practitioner of all of them.
Director. Composer. Engineer. Voice actor. No matter what side of the mic he’s working, Oliver brings the authenticity and passion of a working artist. Combining his classical training with fierce originality, Oliver is a sought-after composer for film and TV projects, like the CBC series Queens and the sci-fi thriller Project Ithaca. Not to mention his career as a dance music producer releasing tracks on some of the industry’s most notable labels.
This experience and creative passion are what give Oliver an authentically unique perspective in the world of advertising, having worked with brands like Cadillac, Busweiser, TD, Walmart, Hyundai, and more.
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?
Oliver> It really depends on the situation. When we get a brief at TA2, sometimes it’s crystal clear, and it’s all about following the plan and the path that’s been laid out for you. However, sometimes even in straightforward cases, you have to trust your instincts and go with your gut if it’s guiding you to do something. There have been times when I felt like a risk was the right thing to take and more often than not that decision paid off. Knowing the right moment to do something unexpected and knowing the right moment to play it safe takes a long time to figure out. But every project you work on helps to build that creative compass. And when it brings you to the right place it’s extremely rewarding.
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?
Oliver> Working as a director at TA2, I’m constantly collaborating with very talented people. Whether it’s singers, actors, creatives, engineers, etc. I love to see/hear what new perspectives and ideas they bring to the table. But when I have my composer hat on, I’m doing most of the work solo. It’s nice to change it up and I’m fortunate that my job allows me to experience working on both sides. Recently I’ve been collaborating with the incredibly talented artist/composer Alexandra Petkovski (aka. FJØRA) on a number of projects. Her sense of melody and composition is phenomenal. Outside of advertising, I write and perform my own music as well, and have had the opportunity to work with some really skilled producers in the dance/electronic music world. Simon Doty and Nick Curly have been some of the more notable ones, and I would definitely check them out if you’re into raving and that sort of thing.
LBB> What’s the most satisfying part of your job and why?
Oliver> Definitely coming up with the first creative idea or swing at a brief. I love that feeling of having a blank canvas to work with, and entering into that meditative state where I can let my ears and hands guide me.
LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?
Oliver> I think we’re currently coming out of an age of 'Fast-Fashion' when it comes to sound and more broadly in all areas of life. In the past, we saw a move toward cheaper sound work and lots of stock music being used. I think of this like your typical mall fast-fashion outlets. But people are pushing back now, they want to invest in pieces that will last. And I believe these trends apply to music and sound as well. In many ways what we do at TA2 is like custom tailoring, so I’m happy that the world is beginning to remember the value that comes along with that.
LBB> Who are your musical or audio heroes and why?
Oliver> I’m a huge synth nerd/enthusiast so I definitely would see composers like Vangelis or Giorgio Moroder as being pretty high up there. Dave Smith also deserves a big mention, not just for the instruments he designed but also for literally inventing midi. Midi is at the heart of almost all modern music-making, you can’t get much more legendary than that!
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?
Oliver> Absolutely, Delia Derbyshire is the first one that comes to mind. She was a true pioneer of electronic music and sound design, and her innovative approach to sampling and synthesis was leagues ahead of the curve.
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?
Oliver> I don’t necessarily need music running at all times but occasionally it’s a nice thing to have on in the background. But, for me, it needs to be instrumental music. Anything with lyrics pulls my attention away immediately. Everyone is different though, so you do you!
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?
Oliver> At TA2, we always mix with the audience's listening mediums in mind. We are working on our mixes on professional gear like large main surround monitors, small mono speakers, and headphones. Flipping between each to maximize fold downs and make sure everything is speaking properly on different systems. We do also check out our mixes on consumer gear as well like phones and laptop speakers. Yes, you could try to make your mix sound absolutely fantastic on a single medium, but strategically I think that would be pretty nearsighted. The goal, especially in advertising, is to make it sound as best as possible on as many mediums as possible.
Regarding the whole analog vs digital debate, there are obviously lots of very opinionated people on both sides of that haha. I’m a bit more moderate in my stance on the whole thing. I own many analog instruments that sound incredibly rich and timeless and I love to use them when I have the opportunity. However, in today’s fast-paced world, the flexibility that comes with digital editing is a must. I don’t see why the two need to be exclusive though. Most projects I work on are a combination of both. If you understand the benefits of each you’ll have the greatest number of tools at your disposal.
LBB> On a typical day, what does your ‘listening diet’ look like?
Oliver> I’m not sure how common this is, but it changes throughout the seasons. For me, springs and summers are always filled with folk, americana, and warm guitars. Autumn is when I get in my feelings listening to Emo music and other angsty stuff. And Winter is when I listen to film scores and electronic music. Something about these genres just fits the cold and desolate vibe of Winter for me. But I listen to everything, and I really mean everything. From Bossa Nova to Aphex Twin, I have a very wide taste in music. With that being said I do need to be in the right headspace for it.
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…)?
Oliver> My Spotify definitely isn’t hyper-organized haha…but I have a ton of fun making very specific niche playlists. I made this hilarious one I called “The Definitive Cringe-Rock Compendium” which was full of post-grunge rockers like Nickleback and Creed. These kinds of playlists always start off as a joke, but then I end up loving them and listening to them all the time. I don’t know if anyone else will get or understand the vibe I’m going for with playlists like this, but I frankly don’t care.
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?
Oliver> Right now I’m super fascinated with past trends and styles. From cheesy stuff like the Tuscan Kitchen interior design craze of the 2000s to more serious stuff like mid-century Brutalism. I love going down rabbit holes and learning about the weird ways people expressed themselves at certain moments in time. It gives you a cool perspective on things when you can recognize them and know what they’re called. Usually, these sorts of art movements come with music as well, so it definitely does relate back to sound in the end. And I think having a deeper understanding of past trends and styles can tremendously help you navigate the world of sound, music, and advertising as a whole.
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?
Oliver> Before the world was turned inside out by Covid I spent some time in Amsterdam for an electronic music conference/festival. It was an amazing experience, and I got to meet so many interesting artists and musicians there. Compared to North America, Europe generally has a more receptive ear for electronic music. And it was cool to experience music that is seen as niche in Canada in a more mainstream way in the Netherlands.
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?
Oliver> When I was a teen I was much more close-minded when it came to music. I think that I and many others were still of the outdated mindset that music genres were like sports teams that you belonged to. It defined you, your style, and your personality. I think that outgrowing this way of thinking was a huge step forward for me as a creative person. And I wouldn’t be able to do what I do now if I didn’t grow past it.
