Paul is a senior sound engineer with over a decade of experience in the film and television industry. Paul originally considered a career in music production but whilst studying at the London College of Music he was drawn to the world of sound design and audio post. Paul went on to sound design a wide range of content for clients in London such as National Geographic, Fox, Universal and BT Sport. He was then head-hunted to help establish the BBC Studios in Australia as their senior sound designer where he remained for the next eight years.
Paul also has a passion for composing, and his career highlights include working with David Attenborough and Louis Theroux. His sound design work has earned him nominations and awards from PROMAX, Kinsale Shark Awards and Music + Sound Awards.
Paul> I tend to start with figuring out the emotion, what does the client or brand want viewers or consumers to feel? To me, this is the most important starting point when approaching a new brief because our emotions influence every decision we make. It also serves as an anchor point that you can refer back to throughout the project.
Paul> They are undoubtedly among the most collaborative forms of creativity, but they can also be isolating. It’s easy to get comfortable inside your studio bubble and block out the world.
I love working collaboratively, bringing clients into the studio and encouraging them to get hands on with the gear and the sound creation. This approach helps them feel a sense of ownership over the sonic part of the work and adds an extra layer of satisfaction when they leave.
Paul> It might sound a bit cheesy, but the most rewarding part is having clients who are genuinely happy with the end product
Paul> Music and sound have evolved significantly within the advertising industry due to technology and the changing content consumption habits. This evolution will continue as new technology and consumer preferences emerge. Music has always been used as a tool to create emotion and connection, but now brands and advertisers are more focussed than ever on using music and sound to evoke specific emotions and sentiments that align with their brand values. With digital platforms and data analytics, you can target specific audiences and demographics, tailoring the sonic experience making it more personalised, emotional and interactive whilst still maintaining brand consistency across platforms.
Paul> Easy one… Max Richter and Ben Burtt, I don't think I need to over explain this, I just think they are geniuses.
Paul> I have an Instagram account for doom scrolling sound designers, composers, agencies and all things sound and music-related. It helps me keep me updated on what others are doing and emerging trends, while also a source of learning and inspiration. I often stumble across someone doing something completely unrelated that sparks ideas for my work and gives me a what if moment...the only problem with this is it fuels my ever growing amount of ‘Sonic Toys’
Paul> I am a big fan of background sound… usually though I put a film on I have seen a thousand times as I don't want to hear anything new, or be distracted… I just need to get it done.
Paul> My day starts with childrens music as I drop the kids off at daycare. Currently we are listening to the elemental soundtrack and it is amazing. When I get in and the kids are in bed, I will put a vinyl on while cooking or cleaning, the current favourite is Fredagain “Actual Life” and Daniel Johns “FutureNever” but occasionally I can sneak Buddy Holly on… if i'm lucky. Then finish my day with a little bit of gaming and watching youtube tutorials on the side.
Paul> I have all the things….the hard drives full of sounds, a somewhat neglected spotify account due to my children's influence on my algorithm, and a growing collection. I initially only aimed at buying records I would listen to in full as background music, but that has gone out the window and now i am buying obscure hip-hop records
Paul> I am currently big into Shepherd Fairey (Obey) at the moment and often have to wake up at 2am to try and buy the latest release, I am also a bit of a gamer and like to get lost in the worlds, music and sound design, they are incredible pieces of interactive art…although you can lose hours very very quickly
Paul> The place that probably had the most profound impact on me was Iceland, I visited this place called Rangaping eystra(thank goodness I don't actually have to pronounce that) to go to an extinct volcano that has a natural hot spring bath, and just standing in the centre of this thing it's kind of impossible to fully understand the magnitude of it, its so big, but I had this sense of insignificance that was so freeing, that whenever I experience any mental block or pressure around starting a project, writing music… or literally anything, I think back to that moment and it frees me of those creative blocks.
Paul> When I was younger I had this insatiable hunger to learn everything and be able to do everything…which has never really died down…I just have less time, I have also become more appreciative of the simpler things like a really great mix. I am lucky in that my passions are heavily involved in my work so everyday I try to learn something new or discover something new. I also have the opportunity to get my kids involved in what I do, and it could be as simple as giving them instruments and sitting around and making noise or sitting my older child in front of a drum machine or a modular synth and letting her press buttons and turn knobs.