Arrows in Flight with sound designers Adam Smyth and Josh Campbell

In this inspiring interview, Young Arrows winner, Josh Campbell, Sound Designer at Factory Studios asks British Arrows winner Adam Smyth, Sound Designer, Composer & Creative Director at String and Tins all about best routes into the industry, working lunches and lessons on award-winning success.

This year’s Young Arrows awards have closed, and with a record-breaking number of entries received in our first free-to-enter year, it’s set to be an exciting awards show. Why not join us, and see work by the next generation of moving image advertising talent and celebrate alongside the community. Hosted by Reggie Yates, winners will be announced at the ceremony taking place on October 22nd at HERE at Outernet, London. Tickets are on sale and can be purchased here.

Josh: Do you feel higher education is still the right step for aspiring sound designers, or should they dive in to work as soon as possible?

Adam: There are definitely advantages to both! On the one hand, dedicating time to learning the craft and exploring the world of sound design in a structured environment is invaluable. Plus, the opportunity to collaborate with like-minded folks and build a network is huge. But, as someone who jumped straight into the industry without going to university, I also see the merit in getting your foot in the door as soon as possible. Especially now, with so many amazing 'how to' videos online, you can learn so much by immersing yourself in a team that cares and doing a bit of self-study. And of course, there's nothing like having access to a professional studio!

Josh: Is remote working in sound a game changer, or has it led to more rounds of feedback because of less in-person collaboration?

Adam: From a work-life balance perspective - especially as a new dad with a 4-month-old - it's a total game changer. We're often cooped up in studios with little light, or air, so getting out and about can be really inspiring. I think it's essential to switch up your environment—it keeps us sound designers nimble! Plus, having a day to explore ideas without immediate client feedback is priceless. Some of my best sonic discoveries have come from those moments where I was free to experiment and fail.

Josh: What’s the longest you’ve gone back and forth with a client over the level of a single sound in your mix?

Adam: The record is two weeks. It was the sound of a car being winched onto a truck. We tried every squeak and metal twang imaginable, and tested it on every speaker and headphone known to man. Turns out, the client had a specific tinnitus issue, so after a sharp cut at 5KHz, they loved it.

Josh: What’s the best tactical lunch order when running a busy attended session?

Adam: Love this! I'd say keep it clean and quick with a salad: tasty and efficient. Or, if you're feeling indulgent, go for something like Five Guys burgers. That way, everyone will be too busy digesting to interrupt!

Josh: Do you find it harder to mix in stereo or surround?

Adam: Stereo, for sure, but I love the challenge of both. Coming from a music studio background, I use a lot of music mixing techniques to create space and depth in my stereo mixes, but maybe sometimes I overcomplicate things.

I love how the techniques and worlds of music and sound design can blend when it comes to a mix. Ducking, Compression, Delay, the Haus Effect, it's all great stuff to play around with. I feel surround gives everything its own space, and it's just how we’re meant to hear things with the minute time delays. Binaural/Atmos feels closest to how we naturally perceive sound in our everyday lives. I find it easier to pull things apart in immersive formats, and then I really love getting into EQing and designing sounds to solely place in the LFE. Solid low end, baby! And is it just me, or do the foldowns sound really good too?

Adam: What's the most challenging part of your role?

Josh: I don’t think there’s one thing I find particularly challenging about being a Sound Designer, the role is so dynamic. I think years ago I would have said deciphering client feedback, I’ve definitely spent half an hour scratching my head before realising they have put picture and sound feedback in the same email. I think in general the biggest challenge is when sound gets condensed too closely to playout, but the job requires lots of elements that require rounds of feedback. Trying to keep the creatives happy whilst the client is wanting to go down a safer route etc. It’s also a fun challenge too as finding a solution to something that makes everyone happy with the finished film is quite satisfying.

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