Thinking In Sound: Embracing The Rhythm with Adam Moses

Adam Moses is a gardener of sound, a guitar pedal lover, and a disciple of harmony and its driving effect on emotion. He has been a go-to composer in film, docos, and TV and you’ve heard his work on hundreds of ad campaigns.

He has won countless awards for his work, including a Cannes Lion, AWARD Pencils, a Music + Sound Award, and also received multiple APRA Screen Music Awards. His music is regularly heard on multiple platforms and he has performed and produced with and for some of the world’s biggest talents on the stage, and in the studio.

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? 

Adam> Emotion // Structure // Colour 

Typically the first and most critical thing I like to do is figure out exactly what emotion we are seeking to achieve. This might come from a reference supplied or a reference I have found but it will always directly relate to the onscreen performance or feeling. 

Once I know what emotion is going to be best, I set that idea aside for a moment and work on the structure. I’ll set a metronome, and figure out the structure and tempo/timing of the most important emotional beats in the film. Sometimes the emotion needed will influence the speed of the tempo, but what I am really after is strong rhythmic beats landing on strong structural storytelling beats.

Once you have the emotion and the structure figured out, the job becomes a lot easier at that point. It’s a subjective choice of palette and colour from then on. 

For me, it depends on what is happening on screen and how much music will play a part in the narrative, in a leading / supportive role, or if it is just a vibe, and that will indicate whether I might start musically guiding with melody, harmony, or simply an atmosphere that works. 

Then come the colours. This is usually the fun part. Coming up with fantastic, new and creative ways to make sound and music that push the boundaries of music making and what is expected vs what is an unexpected palette that achieves the brief in a fresh new approach. I have spent countless hours of my life working on my production skills and whatever I put out there into the world, I want it to feel and sound like it came off a hit record. 

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? 

Adam> I started my music career many years ago, and while my main instrument is the guitar, my first instrument was the trombone. I even played it all the way through college while studying for my jazz degree. I played in orchestras, jazz ensembles, in funk bands and rock bands for over 15 years professionally. I was decent enough, but not amazing.  

Here’s the thing though, I hated it. I loved the instrument, but hated practicing it. Stuck in a practice room by myself was pretty much my idea of hell. 

What I loved was playing in ensembles. Sitting in the middle of a jazz ensemble, behind the saxes, in front of the trumpets, and the rhythm section to my right. I was smack bang in the middle of the ensemble, AND the composition. 

I think that’s why when we decided to launch Mosaic Music and Sound we wanted to operate in the same kind of way. An ensemble of sound designers, composers, producers, directors and creatives all working together to make a beautiful work. Together. 

We have a very collaborative approach to everything at the studio, and that was by design. We invite our agency clients and even their clients to sit in on sessions with me. They have a high level of trust and confidence in myself and the team, which allows us to stretch and explore for something truly special to work towards.

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

Adam> All these years later, I still get a thrill when I see my work on TV, radio, or in the cinema. It is just a beautiful circle of all the hard work for that job, from its inception to its release into the world and is shared with everyone. 

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

Adam> I have been lucky enough to have had many teachers and mentors in my life. Too many to mention here, but they have all guided me to being the composer and artist I have become. 

Beyond those important and personal connections I have made, I have always looked at the career of Quincy Jones as a symbol of inspiration to me.

His career started similarly to mine, in that he was a trumpet player, who turned into a conductor. A conductor who became the composer, the composer who became a film composer, then a pop music producer, and a record label owner. He never put a ceiling on what he could achieve, and that’s the inspiration I have taken from his career and trajectory. If i can achieve 10% of what he did, I'll be a happy man. 

LBB> When you’re working on something that isn’t directly sound design or music - are you the sort of person who needs music and noise in the background?

Adam> I am a sports nut. I watch live sports all day. cricket, baseball, football, doesn’t matter… If it’s live, I'll watch it. Many people have watched me compose something with live baseball playing on the big TV in the room. 

I can’t have music playing as I find it too engaging, and I find myself getting no work done. It’s either silence and focus, or a bit of sport. 

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 - how does that factor into how you approach your work? 

Adam> It doesn't really matter to me. I am going to try and produce the best quality sounding work I can, and it is up to the consumer to have the right gear to truly appreciate it. 

We do check our mixes on TVs and mobile devices before final outputs though, and we make sure that the necessary things can be heard in the mix. That is a job I do with our sound design team and focus on making sure we still nail everything on those devices, as that is the most common form or medium for work these days. The truth is, if it sounds good on a phone, it’s gonna sound amazing on some good speakers and vice versa.

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

Adam> I have to admit, I consume a lot of podcasts. Light hearted comedy to heavy politics, I am listening to that on my commute to work. 

I sit down and listen to new music releases a lot, and make sure I know what is trending. I also use it as a bit of producer research. Sometimes the music isn’t my cup of tea, but I have to know if a brief comes in with this stylistic reference, I can do it, and if I can’t, I use my downtime to upskill and make sure I stay current with production and styles. 

I also love going down reference search holes, and finding new music I haven't heard before. When a brief or a reference search comes in, I like to sit down and go down the rabbit hole. When you find those golden nuggets, they feel so good to listen to. 

LBB> Do you have a collection of music/sounds and what shape does it take? 

Adam> Definitely a Spotify playlist kinda guy. I still have a lot of records in storage I think… 

LBB> Outside of the music and sound world, what sort of art or topics really excite you? 

Adam> I’m a family man. Outside the music industry, I am usually at the table with my five-year-old making Lego, or doing dad ballet whilst my two year old is belting out “Let it Goooooo”. 

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? 

Adam> I’m a bit of a cultural mongrel. 

My father's side of the family is originally from Iraq, but he was born in India. I was totally embarrassed as a kid when I had to get out of the car at school drop-off and my dad was pumping middle eastern pop music or Indian Ragas out of his Honda Accord at full volume. 

My mother's side of the family were all from Germany and she loved European classical music and pop music. She always had the radio in the kitchen on and it was usually 2CH radio playing. From Beethoven to The Carpenters, and everything in between, it was quite the cultural stew to engage in as a child. 

I was very fortunate that my parents took me all over the world with them, and I was able to soak all that up. I think I had travelled to over 20+ different countries before I was 18. 

When I finished high-school, I got a scholarship to study jazz in Las Vegas, and I had the pleasure of living there for six years. Travelling around the country playing in different ensembles from blues, jazz, country, folk, classical, wind ensembles, it was all part of my life, and that travel to those places had me submerged in the culture for so many years, it undoubtedly had a huge impact on the stylistic repertoire I have today and it's probably what made me such a good jingle writer in the end.  

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? 

Adam> As a teenager and through my college years, my relationship with music was an obsession. Like many people, I was completely immersed in it, driven by pure passion and focus. As life progresses, though, different priorities take hold, and our relationship with music evolves.

They say that the music we listen to between the ages of 14 and 24 tends to shape our tastes forever. While this may be true for many, composers like me experience this differently. Our work requires us to stay on trend, drawing inspiration from both new and old music. This constant exploration often broadens our horizons but can also shift our personal connection with music. 

Choosing your passion as a career has its complexities. It’s true that when music becomes your work, it can lose some of its shine.

There are times when I can go weeks or even months without finding anything that truly inspires me—and that’s okay. Over time, I’ve learned to embrace this rhythm.

Having a young family has helped me find balance and better understand the importance of carving out space for other aspects of life. In fact, I believe that boredom can be a powerful tool.

Many composers, myself included, benefit from stepping away from the computer, going for a walk, or sitting quietly by the beach. It’s in these moments, when I tune into the music in my own head rather than the music of others, that inspiration often strikes. Giving yourself space to reflect is essential for creativity. 

Collaboration also plays a big role in keeping me inspired. Working closely with clients and my talented team at Mosaic helps breathe new life into my ideas and keeps the creative spark alive. For me, maintaining a healthy work-life balance is key to keeping my relationship with music vibrant and fulfilling. Whether it’s spending time with family and friends, practicing pilates, or taking holidays, these experiences contribute to my happiness and fuel my creativity. 

Ultimately, I’ve learned that being singularly focused on one thing isn’t always the best path. The philosophy of asking yourself “What else do you do?” can be a powerful reminder to nurture other areas of life. Diversifying my experiences has not only enriched my life but also deepened my relationship with music in unexpected ways.