SOUND+MUSIC SCORE IN 2024 ~ CB tracks down the industry’s best for our annual report

Embracing new technologies, investing heavily in talent, discovering inspiration in new mediums, and managing resources to become more resilient in a testing economy is the score of the day for Australia’s leading sound and music companies. Campaign Brief tracks down the industry’s best to gain an ear to the ground.

 

With a focus on local work across the board this year, Australian sound and music companies continue to be highly regarded in both creativity and proficiency, opening up collaborative opportunities from all over the world.

Heckler Sound executive producer Bonnie Law confirms whilst the majority of the studio’s work hailed from Sydney and Melbourne clients, briefs also arrived from Singapore, the United Kingdom and Saudi Arabia.

She says: “I believe there’s been a positive shift back to valuing original craft and thankfully we’re seeing this permeate the industry again. Australia is a stronghold for creativity and craft across the board, so it makes sense that agencies locally and abroad seek our specialised services in these areas. We’ve always invested in delivering original content, having weathered budget constraints and convenient trends to stay true to our model.”

Whilst Australian briefs still make up the majority of Rumble Studios’s workload, the studio is also seeing an increase in briefs from the UK and North America, largely due to the success of some fantastic local campaigns.

Says Rumble Studios partner and executive producer Michael Gie: “We keep our focus on working with the agencies as there is a trust and collaborative process between us that works best for the overall creative execution.”

However, this year there’s been a noticeable shift in advertising clients preferring direct collaboration over agency intermediation, despite many having an agency background themselves.

Says Electric Dreams Studio owner and creative director Cornel Wilczek: “To be completely honest, the working relationship and process feels exactly the same. The other part of our business, score for film and TV, has given us more exposure in the US and Europe as we see growth in those territories that I expect to continue.”

Confirming its main source of work is through the traditional agency funnel, Mosaic Music + Sound partner and executive producer Bill Doig admits the studio has taken on a fair amount of direct to client projects. Says Doig: “Mixed with all the traditional sources of work, we have also been working with visual artists on a number of art installations and audio visual projects. Our contact base is primarily agencies and production companies here and abroad.”

Over at Uncanny Valley, work is distributed between Australia and internationally and is split based on the type of project. Uncanny Valley creative producer Ariane Sallis says: “For the most part, we work directly with clients, which is fantastic for that direct feedback loop and really customising our tunes to fit their vision. Pivoting to the advertising world, we find ourselves more in collaboration with agencies and/or trusted directors. That shift introduces a whole different dynamic to how projects are conceptualised.”

 

On the music supervision front, Music Mill owner Bruce Tweedie has seen a noticeable trend towards brands bringing more campaign functions in-house, including music search and licensing.

Says Tweedie: “We are seeing a very pleasing increase in the number of agencies who are trusting us to collaborate with them and their clients – sometimes educating the clients on the fundamentals of using songs, other times walking them through the requirements and issues associated with their particular campaign. That level of transparency is hugely beneficial for everyone, because it minimises misunderstandings and helps manage client expectations.”

In terms of budgets this year, Squeak E. Clean Studios head of post production Emma Duncan has come up against both progress and frustration but says despite the ups and downs of the economy, the industry has shown some serious resilience.

Says Duncan: “We’ve been smart about how we manage resources, embracing new tech and investing in our people with some important hires and new up-and-coming talent. We’ve also enjoyed a mix of traditional advertising work, new media, and inspiring cultural projects. So yeah, 2024 is shaping up to be pretty exciting!”

According to Mighty Sound founder and sound designer Matt Perrott, budgets have been adaptive but reasonable and responsive with the market conditions.

He explains: “I would say that for every cost compromised job, there are reasonable producers and creatives who understand the logistics and challenges facing suppliers and they come to the party to find the best approach.”

With traditional budgets being squeezed, MassiveMusic executive creative director Ramesh Sathiah believes diversifying the studio’s work to include sonic branding, film, television, and experimental projects has helped to even out the studio’s workflow.

He says: “We have been doing quite a lot of experiential work in the US, including a theme park ride for Hershey’s Chocolate World and a very cool Nissan installation that is currently live in New York.”

Final Sound founder and sound designer Paul Shanahan admits it’s been one of the toughest years on record. He says: “The budgets haven’t reflected the increase in outputs requested and the associated time required to create them. It often feels like the client focus is on maximum outputs, across a multitude of media and subsequent deliverables, resulting with both the budget and creative side taking a hit.”

Smith & Western Sound executive producer Dan Higson also relays that budgets across the board have been quite tight. He quips: “Our famed cheese plates cost a fortune these days! Luckily, our main source of income these days is from sonic branding which, on the whole, has a much higher price ticket than your one-off TVCs.”

 

Studio Movement

This year there’s been some shuffling of talent between Australia’s most prominent sound houses. Higson at Smith & Western Sound has noticed a bit of personal movement around his competitors. He says: “I’ve no doubt all concerned are doing a great job wherever they are. From our point of view, when long standing staff members of our competitors fly the nest, it often works to our advantage. For instance, if they set up as freelancers, we can then work with them as well and get all the juicy gossip whilst they nail our job. We’ve been using a lot more freelance composers and engineers over the past year as we have been so busy.”

Sonar Music has bolstered the team this year, across all areas of the business including production, sound engineers and composers. Says Sonar Music head of sound Timothy Bridge: “Collaboration between our team always bears the most unique and interesting fruit.”

This year Squeak E. Clean Studios welcomed Cam Milne to the Sydney studio. Duncan says: “With Cam on the team, we’re even more pumped about delivering top-notch audio experiences for our clients. Oh, and did I mention we’ve got this swanky new studio right by the water in Pyrmont? It’s pretty fancy!”

In recent times, MassiveMusic has bought on a new sound designer, Damian Press, as well as Georgia Roberts as head of partnerships. Adds Sathiah: “As our sonic branding business has grown, the need for strategic thinkers has ramped up. We’ve had to build our music agency side of the business with people who have a background in branding and marketing, not just music and sound.”

Final Sound welcomed new engineer Lara Scheider, who is working mostly in longform projects and promotional outputs for the studio’s sport sector clients. And, relocating to Sydney from Brisbane, Rumble Studios is excited by the appointment of sound designer Renee Park.

This year Electric Dreams Studio welcomed a wave of new composers, enriching its pool of creative talent. Says Wilczek: “With our expanding presence in the film industry, we’ve had the opportunity to connect with numerous young composers. These new additions are not only exceptionally skilled but also bring a remarkable level of reliability and experience to the table. Working with such fresh talent has injected a vibrant energy into our projects, keeping the entire team engaged and inspired. Their approach and perspectives have indeed kept us all on our toes, contributing to a dynamic and productive creative environment.”

Mighty Sound also extended the studio team, hiring producer Meg Drummond along with welcoming back sound designer Audrey Houssard. And whilst Perrott doesn’t feel like any particular role or skillset is more in demand than in previous years, he says the pressure has increased to deliver high quality work in fast turnaround times.

“One of the most valuable skills we are really trying to foster internally is technical proficiency and mastery. And by that, as our briefs get more complex, with remote clients, growing deliverable lists, and finalising content across various platforms; having a robust understanding on the finer details of session management, structure and templates is where we gain efficiencies for us and our clients. And with those efficiencies, we earn greater creative freedom.”

He adds the sound industry has undergone some momentous evolutions in the past 24 months: “We have seen AI based DSP becoming commonplace, immersive audio is now available on more platforms than not, and our mixes are being delivered to more screens than ever before, and the more we master and embrace these changes, the more the artistry flourishes.”

Another flourishing story, of a slightly different note, is a cross between a business partnership and a love story. It’s a timely subject as Music Mill’s Bruce and Clare Tweedie celebrate the tenth anniversary of when they first met and six years since Clare joined the music supervision business as an equal partner.

(Bruce) Tweedie reflects: “That was an enormous leap into the unknown, and we did understand that there was a risk that it would threaten our state of living-happily-ever-after. But that didn’t happen. It turned out to be a brilliant move because we balance each other perfectly. We have worked hand-in-glove to re-engineer Music Mill into a well-oiled machine, with an emphasis on reliability, professionalism and attention to detail.”

In the earlier stages of business, Mosaic Music + Sound is celebrating its first year having grown from two to four to service the workload and employing new sound engineer Michael Thomas and studio assistant Oliver Ashby.

Says Doig: “On top of those two appointments, we have been steadily expanding our team of high-end talent from around the world, both in sound design and music composition, that we call upon when needed.”

 

According to Mosaic Music + Sound partner and head of creative Adam Moses, the studio is noticing more requests for music curation, particularly from production companies seeking creative support for treatments or projects where music plays a key role. He says: “This is helping directors and producers consider the importance of audio at the start of a project rather than at the end.”

Offering premium original music and sound as a foundation, the team at Heckler Sound has noticed the role of creative director in music becoming more in demand. Says Law: “We are blessed with our creative director Johnny Green who is highly skilled at providing creative direction for our composers, scouting talent and overseeing all creative aspects of projects across music and sound, for both retail and brand campaigns, plus long form.”

Over at Audio Network Australia creative licensing manager Alex Sharkey is excited to have hired Jess Bonney, stepping into a newly created client partner role. He says: “She comes to us after a long and successful career as a producer and Dux Newton (formerly with Qantas) now leads our enterprise business, bringing his creative expertise on board.”

Trends & Tech

It’s an exciting time to be sourcing inspiration from many different global platforms and across many different formats and durations says Bang Bang Studios senior sound designer and composer Tristan Dewey.

Says Dewey: “The ability for everyone involved in a project to bring creative input to the table is really invigorating. The speed at which left-field ideas can be brought to the conversation surrounding campaigns we find ourselves working on enables us to always push the boundaries of what we do.”

Sallis at Uncanny Valley has noticed a notable push to make music that could ‘go viral’, turning ads into potential TikTok hits. She says: “Okay, so on a bad day, it’s all about grabbing a doom scroller’s attention with a fast, catchy hook. Ads now often try to ride the wave of whatever’s trending on TikTok, aiming to strike a chord with younger audiences.”

However, at the same time, Sallis believes authenticity is key — people want music that feels real and relatable, not just a classic sales pitch. “Basically, advertisers are becoming more adventurous and it’s made ad music cooler and more connected to what’s happening right now, which is a win for us!”

TikTok’s short, engaging content has encouraged advertisers to focus more on sharp, repetitive and catchy ideas and Squeak E. Clean Studios executive creative producer Karla Henwood says music and sound in ads have become focused on quickly capturing attention.

“The TikTok algorithm amplifies certain music styles and trends, we then create music and sound to help brands align with the trends and connect to audiences. There’s a real need to establish brand recall and recognition specifically on TikTok and social media now; it’s a much cheaper way for new brands and products to connect with target audiences without the cost barriers of traditional media.”

Rumble Studios has been receiving specific briefs for ‘Tik-Tokable’ tracks. Says Gie: “Generally, it’s been a danceable track focussing on a short and catchy melody, ensuring your entire hook can fit into fast scrolling content. It’s made for some fun sessions.”

The great thing about TikTok is it’s often produced with sound and music being the driver of the idea. As the official sponsor of TikTok, MassiveMusic ECD Sathiah says often a viral hit can be just the right answer, but having a more brand-connected concept can also be more effective.

Wilczek at Electric Dreams Studio says nowadays, the trends we observe on the platform invariably shape the briefs his studio works on three to six months later. He adds: “A notable positive aspect of TikTok’s influence on music production is its ability to spotlight truly unique and innovative music. Every so often, a fresh piece of music goes viral, introducing the world to new sounds and genres. This not only enriches the musical landscape but also helps in normalising these new genres within mainstream media, including advertising. TikTok, in essence, acts as a dynamic conduit for musical diversity and innovation, significantly impacting how music and sound are crafted for advertising.”

However, the rise of TikTok’s popularity has also birthed some less positive outcomes for music. Sonar Music executive producer Sophie Haydon explains: “TikTok’s influence has made music feel impersonal, as it becomes just another piece of content in a never-ending cycle. Frequently, once music passes through the TikTok filter, it’s perceived as no more valuable than AI-generated music.”

With its emphasis on viral trends, Haydon argues TikTok can make music feel quick and disposable to certain audiences. Additionally, the platform’s ability to rapidly popularise and then move on from songs can sometimes create the perception that music is being churned out at a rapid pace, possibly diminishing its value.

She adds: “In reaction to this trend, we’ve noticed a shift in many briefs, with an emphasis on preserving imperfections and maintaining a handmade quality to everything we do. Ultimately, we believe this is something that will never lose its value and is what sets our composers apart.”

 

Music supervision specialist Music Mill owner Tweedie says it’s not the TikTok-ification of music that’s the issue; it’s the collateral damage from the current war between TikTok and Universal Music Group that’s top of mind.

He says: “We’ve been very diligent in keeping our clients informed of the situation, and some of them aren’t too happy that a big chunk of the universe of songs are no longer available for all those eyeballs that TikTok can provide. It doesn’t look like it will get better any time soon, given the criticism they have hurled at each other, and now Universal is teaming up with Spotify, which could be a formidable threat to TikTok if they start supporting user generated content. Imagine a world where all the major record labels and publishers withdraw their tracks from TikTok… and the USA bans it altogether!”

Over on the technology front, AI also continues its rise in popularity by helping to interpret complex ideas into manageable and useable concepts. Final Sound founder and sound designer Craig Conway believes AI is currently still our friend. He says: “For instance, music searching has never been easier in some respects because of the suggestions and results thrown at you. Plus, the way we catalogue and search for SFX has sped up. Also, with the help of the many dialogue tools at our fingertips, delivering better sounding commercials and programs is getting better in less time. AI like any tool in the toolbox is great in the right hands. However, one can also do a lot of damage with a hammer!”

For Wilczek at Electric Dreams Studio, AI’s primary application involves enhancing audio quality, such as cleaning up recordings and separating tracks. Another domain where AI is gaining traction is in voice-overs. Bridge at Sonar Music says: “We’re increasingly encountering AI-generated voices. While the technology sounds quite impressive, it’s still discernible as not a person, lacking the warmth, emotion, and subtleties of a human delivery. This raises concerns about over-reliance on AI, as it could potentially detract from the intended focus and lead to subpar results. We firmly advocate for engaging professional talent for final voice-overs, recognising the human experience they bring cannot be replicated.”

Dewey at Bang Bang Studios is optimistic. “It’s been an exciting time using elements of machine learning in a dynamic way to help carve out sounds that otherwise might not have been possible. We’ve worked on multiple projects where we’ve used AI as part of our creative pallet as another tool.”

Moses at Mosaic Music + Sound says the process of making music and sound comes with a human rhythm all of its own. “AI is a great tool and won’t completely replace what it is we do. We paint with sonic emotions, and that is something that AI currently cannot do. However, it’s fun to explore and play, which goes hand in hand with human nature and creativity. Simple things have become easier and quicker, allowing us to deliver more time-intensive work back to our clients with more speed and accuracy.”

Working at the forefront of AI in music for some time with the release of AI generative software Memu, towards the end of last year Uncanny Valley created an installation at the Sydney Opera House, ‘Music of the Sails’, curating hundreds of hours of generative music piece that reacted to the real time data from around the iconic structure itself.

Says Sallis: “Throughout history, music and technology have co-existed as collaborators. It’s all about the synergy between human creativity and technological advancement, creating a future for music and sound that’s more diverse, inclusive, and innovative.”

Sharkey at Audio Network Australia says AI helps with tagging, search and the like. “People love this as it leads to significant efficiencies both internally and for end users. In terms of the music itself, we’re always going to be an artist first business that keeps an eye on how things develop.”

Music to our ears

Thanks to the ever-growing popularity of podcasts and streaming platforms, there’s been a resurgence of marketers asking what their brand should sound like. How do you know if your sonic branding is working? Higson at Smith & Western Sound notes the huge amount of research going into sonic branding.

He says: “We are inescapably veering towards an audio heavy juncture. As the New York Times states: ‘Units of sound are a cultural currency as strong as, if not stronger than images and text’. Forbes magazine wrote: ‘Sonic branding is evolving from a technique used by a limited number of marketers to a must have for brands across many industries … when properly executed it can be baked into the brand’s essence effectively in such a way that it becomes a key corporate asset’.”

The data, he adds, is proving that brands who own a uniquely crafted and recognisable audio identity can boost brand recall by double digit percentages. For example, US based audio intelligence firm Veritonic found that the Tostitos brand recall was upped by 40%, following the use of a 1.5 second sound.

Sathiah at MassiveMusic confirms sonic branding can be measured. “For our sonic branding work with TikTok, Kantar Research tracked the performance of the new sonic logo with over 9,000 consumers in eight key markets. The results prove that the new sonic identity has helped significantly reinforce brand awareness and affinity. For instance, 73% of the respondents associated TikTok’s sonic logo with positive emotions. The global study also revealed a 52% recognisability rate, which is 40% higher than average for a new sonic logo. It’s an amazing result, considering this is essentially a new sonic branding device.”

Dewey at Bang Bang Studios has a simple analogy. He says: “The most obvious way of knowing if your sonic branding is working is when you hear your work on air on high rotation 10 to 15 years after it was first created.”

Gie at Rumble Studios agrees, adding: “Provided you have the right strategy, research and creative execution, all sonic branding needs is time and repetition for the connection to develop. While sonic branding needs to be consistent, it doesn’t need to be stagnant. Much like a logo it should evolve over time and adapt with the market and the brand.”

Furthermore, according to Sallis at Uncanny Valley, when a brand becomes a verb, you’ve arrived. She says: “When a brand becomes a melody it’s for life. We now live in a saturated market of sound, which means not everything is good and cut-through is king. If a brand has the courage to back an authentic and well researched approach to sonic branding the dividends can be long lasting. When you hear someone on the bus whistling your brand, pass go, collect £200.”

 

On the inspiration side, several of Australia’s top studios have been influenced by a slate of impressive film soundtracks this year.

Squeak E. Clean Studios head of sound Paul Le Couteur points to The Zone of Interest as a strong example of the power of great sound. He explains: “The sound design in this film provides arguably the most visceral and emotionally confronting experiences through careful attention to realistic sounds bathed in a subliminal layer of emotive textures that combine to generate subconscious reactions that are impossible to ignore. The fact that the audience never sets eyes on most horrific scenes displays the mastery of the sound designers’ work.”

Final Sound executive producer Pip Wright reflects on inspiring cinema soundtracks such as Evil Dead, Rise, Dune 2, and Talk To Me, along with The Zone of Interest.

Says Wright: “The work of sound designer Johnnie Burn and sound mixer Tarn Willers on this film is stunning. This film is told in two different ways — there’s the movie you see and the one you hear! Whilst visually the film centres mostly on domestic scenes from a German commander’s family, the horrors of Auschwitz just next door are ever present, only through the soundscape. To quote Burns from a recent interview, ‘You can shut your eyes, but you can’t shut your ears’. Not to be missed.”

Law at Heckler Sound revisited some classics this year, rewatching the entire ‘Twin Peaks’ series. She says: “The first two seasons are all about the music — deep and atmospheric to light and jazzy. The music guided the writing process and was composed before anything was shot, which is a dream process in my opinion. The third season, ‘The Return’ is all about the sound design. The music is set aside to make room for sounds and textures ranging from the intensity of a warehouse noise set to the almost cartoonish lightness and comic relief of Saturday morning cartoons.”

For music supervision specialists Bruce and Clare Tweedie, nothing quite beats a live gig. Says Tweedie: “Clare and I have been blown away by King Stingray and The Dead South in recent weeks, but Cassie (Cannon) just went to Bluesfest again and came back full of enthusiasm for the new acts she discovered there. She said it always happens at festivals – you go for the headliners, but the real joy is in stumbling on so many artists almost by accident. It’s always been a wonderful avenue for emerging musicians to get some exposure, so we hope the government can actually do something about the debilitating insurance problem.”

Adds Audio Network Australia client partner Jess Bonney: “Now more than ever there’s so much to be influenced by, it’s important to keep listening to everything that pops up in the matrix (and constantly search for more). That’s why we love working with music so closely. The constant search for new artists, both locally and abroad closes that inspiration loop. There’s so much talent in Australia as well as the rest of the region that we’re currently unearthing, which we can’t wait to share.”

The Reel Highlights

Standout projects keeping Aussie sound houses inspired have been wide and varied. For Heckler Sound, Touch was a definite recent highlight – a feature-length motion picture without pictures, using the medium of Dolby Atmos to create a rich cinematic experience expressed purely through sound. It was made in collaboration with Howatson +Company and Mastercard to release the bank’s new Touch card.

Says Law: “We acted as the production company and brought together an incredible cast and crew including award-winning director, Tony Krawitz. We worked closely with composers, writers and actors from the blind and low vision community to create this unique piece of cinema, which premiered at Sydney’s iconic OpenAir Cinema.”

Working with Revolver’s Matt Devine and DDB on the latest campaign for Movember was another Heckler Sound highlight. Featuring a track from Mongolian folk-metal band The Hu, an expansive soundscape and a voiceover with none other than acclaimed British actor and comedian Matt Berry. ‘The Mo Is Calling’ followed the journey of men and women coming from far and wide into the desert, each on their own form of unique transport. Another standout was working with Richard Bullock (Hungryman/ Revolver) on a film called The Right To Race about a South Sudanese runner and the pursuit of his Olympic dream. Sponsored by On Running and launched in Cannes 2023 on World Refugee Day, this film documents the journey of Dominic Lobalu, and an accompanying original score written by the studio’s Californian-based composer Dustin Lau that captures the narrative perfectly, echoing all the complexities, challenges, excitement, and life-moments that Dominic faces in the world of elite running.

For Rumble Studios, work that stood out included NRMA ‘Hailstorm’, the latest spot in Bear Meets Eagle On Fire’s ‘Until then’ campaign, proving a detailed story to score and sound design.

UBER Eats ‘Get Almost Almost Anything!’ was another coup. Says Gie: “The magic spot was just incredible. We were thrilled with the Alinta Sonic Branding our team produced with BMF — simple, clever and own-able.”

The team at Mosaic Music + Sound points to Modibodi, which saw the studio create five bespoke music tracks whilst handling all sound mix duties for this multi award-winning body of work.

Says Doig: “We are very proud of this one, in part for what it’s done for the brand, but for what it’s done for advertising on the platform.”

ABC iview was another opportunity for Mosaic to craft soundtracks for a cinematic commercial campaign, each being a perfect blend of sound design and subtle yet powerful genre-specific music scores into a seamless elegant soundtrack for each of the spots. Lastly, Doig says Tyro was a great project. “We created an innovative sound design for this Tyro campaign that blended specialised ADR, intricate filmic soundscapes, and dynamic perspective shifts. Our sound design approach was inspired by the meticulous style and comedy of Wes Anderson films.”

Uncanny Valley was proud to help launch Hubbl and Kayo’s new ‘Get on Board’ campaign this year with Fox Creative. Says Sallis: “The opportunity gave us a chance to work on multiple executions from the major brand and re-imagine two classic tracks!”

Working on the US series of The Summit also opened doors to fantastic new creative relationships for the sound studio, and collaborating with Universal Music Publishing artists across multiple campaign projects was a real joy this year, connecting career artists with creative and commercial projects they might not usually have access to.

For music supervision specialists Music Mill, Roger Hodgson’s ‘Dreamer’ for the Subway ‘Sub-Hopper’ bouncing balls campaign was a highlight – an iconic song, involving complex negotiations, got a big brand campaign, working closely with Publicis Brisbane. Another was ‘Professor Rhythm’ for Nando’s via Sunday Gravy – negotiating across a few continents for a revered South African musician to fly to Melbourne to appear in the TVC, bringing his song ‘Professor 3’ with him. Campaigns for Sirena Tuna for Hero, and BBQ’s Galore for The General Store, were other standouts. Sirena featured Bill Withers ‘Just The Two Of Us’ from 1980, while BBQ’s Galore used Eric Carmen ‘All By Myself’ from 1980. Tweedie also gives a special mention to the Minerva Network, an organisation of leading businesswomen who support and mentor professional sportswomen. Music Mill facilitated the use of Delta Goodrem’s latest single ‘Hearts On The Run’ for their marketing activities.

Over at Squeak E. Clean Studios, executive producer Ceri Davies says: “Of course I shouldn’t have favourites, but I do! The Telstra Christmas campaign for The Monkeys needed careful foley and bespoke sfx made to support the gorgeous animation. It was subtle, honest and hugely enjoyable to work on something that relied on proper old-school crafting.”

Davies says working on AHM is also a gift that keeps on giving in terms of casting. “Having to cast the voice of a ‘pie warmer’ or a ‘box of popcorn’ makes you think very differently and gives us much joy!”

For Mighty Sound, the studio’s feature film projects, particularly ‘In-Vitro’ and ‘The Hopeful’, have been epic projects. Says Perrottys: “A collaboration with our talented mates at Uncanny Valley for Kayo and the ‘Get on Board’ campaign was also very satisfying, with an excellent flow for music and sound working seamlessly together. Plus, we are moments away from launching a very hilarious animation project, which we cannot wait for the world to see (and hear!).”
On the campaign front, MassiveMusic points to Kia Ute. Says Sathiah: “We were delighted to do the music and sound on the recent Kia spot celebrating the launch of their first ever ute featuring 20 Australian sporting legends.”

Referencing its best experiential and installation work, Nissan Kicks was a highlight. “We did the music and sound design for an incredible interactive installation outside the Barclays Centre in New York when Nissan unboxed their all-new 2025 Kicks during the opening rounds of the NCAA Men’s Basketball Tournament.”

And lastly, when it came to sonic branding, Sathiah admits Optus was a big project: “We created a research-validated sonic branding strategy for Optus that will see our newly composed brand song, audio logo and brand voice applied consistently across all brand touchpoints; from campaigns, online content and internal comms to the MyOptus app and in-store environments.”

This year, McDonald’s celebrated the 50th anniversary of its iconic Big Mac, reviving the legendary 70s jingle that highlighted the sandwich’s ingredients. Smith & Western Sound re-recorded the jingle, faithfully recreating the original while infusing nostalgic charm with a cassette tape effect for authenticity. The 80s rendition embraced synth-pop with electronic beats and vibrant synthesizers, the 90s version featured energetic rock with electric guitars, and the modern adaptation was reimagined as contemporary rap, appealing to younger audiences while preserving the essence of the original jingle.

For Sonar Music, integrating The Matildas’ team chant into an electronic composition for a global Nike TVC campaign during the Women’s World Cup finals was a standout project. The Hospitals United For Sick Kids animated campaign was another worthy favourite, showcasing exceptional creativity and execution. Additionally, the studio was thrilled to write the score for upcoming HBO documentary ‘Yacht Rock – Sultans of Smooth’ featuring artists Steely Dan and Toto.

Bang Bang Studios got to work on the sound design and original music for an upcoming Tim Ross and Tim Potter film. Says Dewey: “These humans are truly remarkable and so awesome to work with!” The studio also worked with Coles doing ongoing brand and retail campaigns. “It’s exciting because the production and creative team we work with are amazing and it’s always a dynamic and enjoyable juggling act to land it all on time and keep our collective craft on point.”

Read the full article and more in the latest print edition of Campaign Brief, out this week…