In the lead up to Christmas, 天美棋牌 AUNZ is asking , creatives, , marketers, directors, and music and sound practitioners to share the best gift they鈥檝e ever received - an object, piece of advice or training, or person they鈥檝e worked with. Here鈥檚 what music and sound professionals shared with 天美棋牌鈥檚 Tom Loudon.
The most transformative gifts music and sound professionals have received aren鈥檛 tangible.
Instead, practitioners from Squeak E Clean, Sonar, Rumble, MassiveMusic, Electric Sheep, Level Two, and Heckler nominated mentors, wisdom like "Don鈥檛 be a dickhead", and the chance to work in an environment of mutual respect and growth.
Jen Taunton, managing director at Level Two, looks back on her first major career break with equal parts amusement and gratitude.
In 2002, after scraping together enough money for a one-way ticket from Sydney to London, she found herself juggling unpaid internships by day and bartending by night.
By the time she interviewed for a junior role at Fabric, one of London鈥檚 most iconic clubs, she couldn鈥檛 even afford the Tube fare and had to risk an unpaid bus ride.
鈥淚 was sweating bullets,鈥 she says.
Things didn鈥檛 get any smoother in the interview.
When Fabric鈥檚 co-founder, Cameron Leslie, asked her who her favourite drum and bass DJ was, she responded, 鈥淥h, drum and bass is too hectic, it鈥檚 not for me 鈥 I prefer house.鈥
To her surprise, that moment of unfiltered honesty landed her the job.
鈥淐ameron said my honesty was refreshing,鈥 Jen recalls.
During her years at Fabric, she found not only a workplace that encouraged her creativity but also her life partner, Nick Doherty, who worked alongside her.
鈥淐ameron gave me two gifts that day, and I cherish them both.鈥
Kate Sternhouse, partner and executive producer at Electric Sheep Music, recalled one valuable piece of advice that shaped her approach to collaboration and creativity over the years.
鈥淭he best piece of advice I've received throughout my career was given to me by someone about 15 years ago when I was a producer in Animal Logic's TVC department,鈥 Kate says.
鈥淢elanie Wickham, head of production, shared this little kernel of wisdom with me: Never say sorry 鈥 which meant don't apologise for holding space and being part of the collaborative process.鈥
The adage "strong ideas, weakly held" also holds strong for Kate.
鈥淏e proud to be creatively engaged on a project, but be ready to flow with the process as things evolve, as they always do.鈥
For Jackson Lister, a sound engineer at Squeak E Clean Studios, the greatest gift he鈥檚 ever received was the opportunity to grow in an environment brimming with creativity.
鈥淭he mentorship and guidance I鈥檝e received from those around me have laid a strong foundation for my career,鈥 he says.
鈥淪urrounding myself with passionate, like-minded people who share a deep love for music and sound has shaped my growth in ways I never imagined.鈥
But his journey started much earlier. Reflecting on a childhood gift, Jackson credits experimenting with GarageBand on his parents鈥 computer as a life-changing moment.
鈥淎t the time, I had no idea it would spark a lifelong passion for audio and lead me into a career in audio engineering.
鈥淚t鈥檚 amazing how the smallest opportunities can have such a lasting impact.鈥
Sometimes, the best advice is the simplest. Sonar composer Cam Bruce recalls a piece of wisdom from musician Kasey Chambers: 鈥淒on鈥檛 be a dickhead.鈥
鈥淓veryone has their own versions鈥斺楳anners are free鈥 and all that鈥攂ut 鈥榙on鈥檛 be a dickhead鈥 says it nice and succinctly,鈥 he says.
For Jeremy Richmond, composer at Rumble, the most valuable advice came as a gentle reminder to prioritise creative well-being.
鈥淭ight deadlines and the pressure of producing good work often lead to spiralling down a rabbit hole of self-doubt and revisions,鈥 he says.
鈥淎 circuit breaker 鈥 whether that鈥檚 stepping out for fresh air, chatting to a fellow composer, or listening to something completely different 鈥 can help you come back to the project with fresh ears or even trigger new ideas.鈥
While Jeremy acknowledges that this is easier said than done under pressure, it鈥檚 a principle he strives to follow, especially in high-stakes projects.
Abigail Sie, head of sound for film and TV at MassiveMusic Sydney, says an inspiring quote has guided her professional ethos: 鈥楾he true essence of growth lies not in the harvest of today but in the seeds sown for tomorrow.鈥
Abigail first encountered this sentiment at a Disney exhibition, though it is often attributed to Robert Louis Stevenson.
鈥淭hese words have profoundly inspired me to continually strive for excellence 鈥 both in my creative pursuits and in the realm of business,鈥 she says.
鈥淭hey remind me that every effort made today shapes the promise of the future.鈥
Dave Robertson, head of sound at Heckler Sound, reflects on the understated artistry of his craft.
鈥淭he best piece of advice I鈥檝e ever received regarding sound post for film is this: 鈥業f we鈥檝e done our job properly, no-one notices,鈥欌 he says.
While simple, the advice underscores the meticulous care required in audio post-production.
鈥淲hether it鈥檚 sound editing, foley, ADR, music editing, or mixing, the goal is to create a seamless experience for the audience.
鈥淚f they鈥檙e distracted by a poor music edit or very obvious ADR, we鈥檙e missing the opportunity to hold the magic that cinema can bring.鈥
This philosophy has guided him through a career that includes high-profile projects like Baz Luhrmann鈥檚 The Get Down.
In an industry often marked by competition and pressure, a common thread of mentorship, generosity, and honesty speaks to the humanity at the heart of music and sound.
As Jen puts it, 鈥淲hen people create space for you to bring your full self to work, it changes everything.鈥