Thinking In Sound: The Sheer Diversity of Musical Experiences with Onur Öztürk
Onur Öztürk is the founder & creative music director, 3K1A MUSIC. He was born in Istanbul in 1982, and his journey through music and entrepreneurship has been one of humble beginnings and dedication. His love for music started early, dabbling in piano and solfege lessons before finding his rhythm on the drums during his high school years.
Despite his passion for music, he pursued a different path academically, earning a bachelor's degree in Mechanical Engineering. This led him to co-found EmlakJet, a venture that became a significant player in Turkey's real estate market.
In 2008, he took a leap into the music industry, releasing his first album with Kırkaltı. Collaborating with Fairuz Derin Bulut (FDB) further enriched his musical journey, culminating in his production and drumming contributions to FDB's third album, "Patlantis." In 2010, he founded 3K1A MUSIC, a modest venture that has since grown into a multi-award-winning music agency. Beyond his professional endeavours, he's had the privilege of serving on music and craft juries of various awards. In 2022, he was appointed as the Music Jury President of the Crystal Apple Awards.
With a quiet determination and a genuine love for music, he continues to embrace the journey, grateful for the opportunities to share his passion and creativity with the world.
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?
Onur> It all starts with analysing the brand, the project, the strategy and the brief with the team. And of course the boundaries to define the size of our creative playground.
The process afterwards varies according to the project. Sometimes it continues with designing a melody, sometimes playing along with sound ideas etc.
Instead of being just a third party making the music, it's always good to keep in mind that you're a part of the whole creative process and strategy.
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?
Onur> To be honest, that's what I like the most about music. Even when performing alone, there's an inherent dialogue between the musician and the listener, making every musical endeavour a collaborative experience. It's all about interactivity.
Given my background as a drummer, I've developed a strong preference for collaborative work. I believe that ideas flourish in a group setting, where different perspectives converge to create something truly special. Being in sync with fellow musicians and sharing the creative process is an exhilarating experience that never fails to inspire me.
We worked with Tarkan twice and working on the music and lyrics with one of the legends of Turkey was such an experience. For Durex, we collaborated with world famous adult movie stars Rocco Siffredi and Lisa Ann; recorded a song in Turkish. Although it was their first professional singing experience, we were amazed by their performance.
LBB> What’s the most satisfying part of your job and why?
Onur> For me, the most satisfying aspect of my job is the sheer diversity of musical experiences it offers. Each day presents a new opportunity to immerse myself in different genres and styles – from orchestrating symphonic pieces to crafting beats for a hip-hop project or shaping a brand's sonic identity. This constant variety keeps me creatively energized and mentally sharp, as I constantly adapt to new challenges and inspirations.
Moreover, there's an unparalleled sense of fulfilment in knowing that the music I create today has the potential to reach millions of listeners around the world tomorrow. The ability to connect with audiences on such a large scale is both humbling and immensely gratifying. It reinforces my passion for music and reminds me of the profound impact it can have on people's lives..
LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?
Onur> In today's advertising landscape, capturing and retaining attention is becoming increasingly challenging. However, the role of music and sound has emerged as a potent tool for brands to engage with their audience in meaningful ways.
As consumers become more discerning and digital-savvy, brands are realizing that they need to create authentic connections with their audience. This is where music and sonic branding come into play.
Music has the power to evoke emotions, trigger memories, and establish a deeper emotional connection with people. By incorporating carefully curated soundscapes and memorable melodies into their campaigns, brands can create immersive experiences that resonate with their target audience on a visceral level.
Moreover, in an era dominated by social media and short attention spans, music offers a unique opportunity for brands to cut through the noise and stand out in a crowded marketplace. Whether it's through catchy jingles, impactful soundtracks, or innovative sonic branding strategies, brands can leverage music to leave a lasting impression and differentiate themselves from competitors.
The role and importance of music and sound in advertising have never been greater. As brands adapt to the changing landscape of consumer behavior and preferences, they must recognize the inherent power of music to captivate, inspire, and ultimately drive action.
LBB> Who are your musical or audio heroes and why?
Onur> Tough question. :)
As a drummer, Mike Portnoy - drummer of Dream Theater- is my true hero I guess. Beyond drumming, I admire his role as a band leader and his ability to juggle multiple responsibilities seamlessly. He has taught me invaluable lessons in leadership and multitasking.
In the realm of media music creative direction, I can name Hans Zimmer and Ennio Moriconne. They both think out of the box, love to surprise the audience. They showed that the feel and the sound are sometimes more important than composition itself.
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?
Onur> No, not exactly. But in the creative process I usually ask myself if we could do it with less, and tell the story more simply.
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?
I am not that kind of person who wants or needs music in the background all the time, but I like to have a good playlist going on behind. On the other hand, if I am working on something that needs high concentration, I prefer silence. Because as a result of occupational deformation, sometimes my mind goes "hey did you hear that riff?" and boom! I'm distracted.
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?
Onur> Unfortunately, with the invention of the MP3 format and the era of loudness wars, our ears have been damaged quality-wise. Most of the digital formats and streaming services cannot give you the music with all its aspects. So even with the most epic speakers you cannot hear the whole thing.
In response to this challenge, we try to create the most quality audio at the source. Although we prefer state of the art equipment and software, it's all about the people and the quality of the ears at the end of the day. We have some work flows to improve audio quality. For example the composer and the mixing engineer are never the same guy. Mixing & mastering are done with fresh ears.
LBB> On a typical day, what does your ‘listening diet’ look like?
Onur> It depends on my mood, no particular diet. Just as I wouldn't eat the same meal every day, I do not listen to the same kind of music everyday. But I usually like to shuffle my favourite songs even if it's contaminated by my 6 years-old twins and I am still a radio station guy. I like to be surprised by the DJ.
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…)?
Onur> Well, my first album was on a cassette. Then CDs came in. But after the streaming revolution, I have continued to buy the CDs of my favourite bands only.
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!!)
Onur> Well, even though I don't cook that much, cooking excites me and I find it quite similar to making music. You put different ingredients together, mix them with certain amounts and voila! Just like the music.
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?
Onur> It's always fun to recognize how geography and climate affect the music and as a Turkish individual, I've been fortunate to grow up in a country with a rich and diverse musical heritage.
One of the most exciting moments was in Denmark. We played a gig in Aarhus with my band Elektro Hafız, and it was amazing to watch the audience dancing crazy in a Turkish way even though they knew nothing about the moves.
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?
Onur> Yes, definitely! For example I was a little bit distant from EDM or Techno but strangely after 40, I am really into it now. The loop based structure makes me relax.
Our listening habits change too. Listening to music for me is sitting down and doing nothing but listening. Playing a song while driving doesn't count for example. I did this type of session much more back then but now after spending the busy day with music, sometimes I prefer to enjoy the silence.
