Thinking in Sound: Tailoring the Sonic Experience to Make It More Personalised with Paul Reeves

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.

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?

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.

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?

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.

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

Paul> It might sound a bit cheesy, but the most rewarding part is having clients who are genuinely happy with the end product

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

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.

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

Paul> Easy one… Max Richter and Ben Burtt, I don't think I need to over explain this, I just think they are geniuses.

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?

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’

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?

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.

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

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.

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…)?

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

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!!

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

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?

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.

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?

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.