Thinking in Sound: The Otis Team on Music Maestros and Sound Innovators
Otis Studios is a creative music composition studio based out of Pyrmont NSW, Australia. At Otis, silence is an object, not a void. Not a space to be filled, but an object to be shaped. To ignore it is to leave an obstruction that keeps us removed and at a distance. For Otis, the considered arrangement of silence uncovers levels of intimacy, resonance, and connection that can only be perceived and received through the sense of sound.
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?
Otis> We usually start by delving into what emotion is trying to be conveyed by the piece. So much of what resides within the tone informs how a piece should sound and what palette should be used. We then draw on our knowledge of music theory and write ideas and sketches, typically playing instruments as a unit or solo.
We also try to use technology as one more tool in our box. Our aim is to keep things as organic as we can and then manipulate where necessary. It makes our sound more authentic and our experience more rewarding.
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?
Otis> We definitely prefer to work as a collective. Depending on the project, someone may initially take the lead and we then generally come together to work on projects together. We find it’s more conducive to an environment where we can bounce ideas and critique the work. It’s also a lot of fun. We had the chance to remix Technotronic which was quite enjoyable.
LBB> What’s the most satisfying part of your job and why?
Otis> Writing music and sound that touches something deep inside, and being able to share that with others. Working regularly on different genres of music, which helps us stay fresh and keep our ears open to new music and techniques. Also seeing and hearing our projects out in the world is definitely a highlight.
LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?
Otis> We think music and sound is more important than ever in leaving a lasting sonic imprint for a brand. Something memorable and of note. You only need to look at Tik Tok for an indicator of how a snippet of music and sound can embed and spark within a viral musical moment and influence the wider cultural landscape.
LBB> Who are your musical or audio heroes and why?
Otis> This is a very long list and there is no way we could cover everyone. But off the top of our heads…
Prince - Music came from his very pores - he was the personification of musical brilliance.
Richard King and Mark Mangini are definitely our modern day sound design heroes. The way they concept and develop worlds within their movies sonically is so amazing - and the results really speak for themselves. The levels of experimentation and creativity are great to see and hear.
Gustavo Santaolalla because he has been able to create cinematic language out of his own style of Charango playing.
The meticulously crafted work by Ludwig Göransson for Oppenheimer is an inspiration to us.
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?
Otis> We always refer to the idea that music and sound needs to be memorable. And for it to be memorable it needs to trigger something physiologically. And the best barometer for whether we are on the right path is ourselves and our peers, who are always part of the critique process.
We are constantly thinking about music, and we think in a musical way. Like Hans Zimmer says, “ Anything can become a musical sound. The wind on telegraph wires is a great sound, get it into your machine and play it, and it becomes interesting”.
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?
Otis> We sometimes need downtime from music and sound. To rest our ears and to sometimes enable ‘incubation’ - allowing our minds to rest and the subconscious to create ideas. However, we also have curated music in the background in our office, to help lift the mood, inspire and relax. We guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years.
LBB> 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?
Otis> Whether it’s hi definition audio, or a lofi sound we need to approach each brief with expert knowledge. And being vigilant in checking your work on multiple devices is very important. It is a technical challenge that we sometimes face with the multiple ways in which people consume content. Striving to make a mix translate beautifully on any device is the goal. For us, the idea of simplifying a mix, creating space, checking it sounds great in mono - stereo for example, has always worked well. It will ensure our music and sound design translates well into a surround sound mix being played in a system with all bells and whistles.
Most importantly, although the technical is important, style and the creative will always be the main priority.
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…)?
Otis> We are big vinyl nerds here at the studio, having been professional DJ’s for a time. Our sound design and music sample library is incredibly large and diverse. We are constantly adding to it through our own recordings. We are also always on the hunt for obscure records and sounds.
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!!)
Otis> We love history, musical history and ethnomusicology. Of course obsess over the soundtracks on games like Last Of Us. We often refer to past recordings to help inform a production on any given day. We love guys like True Cuckoo where he shows how-to music gear videos on youtube.
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?
Otis> There's nothing like hearing local cultures on the street soundtracking your travel experience. High school age taiko drummers in Harajuku, busking sarod players in Rajasthan. We also love Shazaming tunes that are played within local areas. It gives us a taste for what is happening culturally within a locale.
We always carry a small handheld Tascam recorder with us on travels. You never know when you’ll stumble across unique sounds that happen in the moment that you can use in future projects.
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?
Otis> To be honest it hasn’t really changed. Due to the nature of our job as music composers/producers, we strive to be aware of music trends, artists, aesthetics being created throughout the planet. New techniques and equipment. We may sometimes consume through different avenues (Tik Tok and Instagram for example), but the fundamental passion hasn’t shifted from our youth. And we don’t think it ever will. That being said, we have become more ruthless about our musical choices. And are able to discern a little better music that is too derivative. We like simplicity in our sound and approach to our compositions. We’ve also protected our ears (ear plugs at gigs) all our lives, so that also helps!
