��������

The most transformative gifts music and sound professionals have received aren’t tangible.

Instead, practitioners from Squeak E Clean, Sonar, Rumble, MassiveMusic, Electric Sheep, Level Two, and Heckler nominated mentors, wisdom like "Don’t 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’s most iconic clubs, she couldn’t even afford the Tube fare and had to risk an unpaid bus ride.

“I was sweating bullets,” she says.

Things didn’t get any smoother in the interview.

When Fabric’s co-founder, Cameron Leslie, asked her who her favourite drum and bass DJ was, she responded, “Oh, drum and bass is too hectic, it’s not for me — I prefer house.”

To her surprise, that moment of unfiltered honesty landed her the job.

“Cameron said my honesty was refreshing,” 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.

“Cameron gave me two gifts that day, and I cherish them both.”

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.

“The 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,” Kate says.

“Melanie Wickham, head of production, shared this little kernel of wisdom with me: Never say sorry – which meant don't apologise for holding space and being part of the collaborative process.”

The adage "strong ideas, weakly held" also holds strong for Kate.

“Be proud to be creatively engaged on a project, but be ready to flow with the process as things evolve, as they always do.”

For Jackson Lister, a sound engineer at Squeak E Clean Studios, the greatest gift he’s ever received was the opportunity to grow in an environment brimming with creativity.

“The mentorship and guidance I’ve received from those around me have laid a strong foundation for my career,” he says.

“Surrounding myself with passionate, like-minded people who share a deep love for music and sound has shaped my growth in ways I never imagined.”

But his journey started much earlier. Reflecting on a childhood gift, Jackson credits experimenting with GarageBand on his parents’ computer as a life-changing moment.

“At the time, I had no idea it would spark a lifelong passion for audio and lead me into a career in audio engineering.

“It’s amazing how the smallest opportunities can have such a lasting impact.”

Sometimes, the best advice is the simplest. Sonar composer Cam Bruce recalls a piece of wisdom from musician Kasey Chambers: “Don’t be a dickhead.”

“Everyone has their own versions—‘Manners are free’ and all that—but ‘don’t be a dickhead’ says it nice and succinctly,” he says.

For Jeremy Richmond, composer at Rumble, the most valuable advice came as a gentle reminder to prioritise creative well-being.

“Tight deadlines and the pressure of producing good work often lead to spiralling down a rabbit hole of self-doubt and revisions,” he says.

“A circuit breaker — whether that’s stepping out for fresh air, chatting to a fellow composer, or listening to something completely different — can help you come back to the project with fresh ears or even trigger new ideas.”

While Jeremy acknowledges that this is easier said than done under pressure, it’s 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: ‘The true essence of growth lies not in the harvest of today but in the seeds sown for tomorrow.’

Abigail first encountered this sentiment at a Disney exhibition, though it is often attributed to Robert Louis Stevenson.

“These words have profoundly inspired me to continually strive for excellence — both in my creative pursuits and in the realm of business,” she says.

“They remind me that every effort made today shapes the promise of the future.”

Dave Robertson, head of sound at Heckler Sound, reflects on the understated artistry of his craft.

“The best piece of advice I’ve ever received regarding sound post for film is this: ‘If we’ve done our job properly, no-one notices,’” he says.

While simple, the advice underscores the meticulous care required in audio post-production.

“Whether it’s sound editing, foley, ADR, music editing, or mixing, the goal is to create a seamless experience for the audience.

“If they’re distracted by a poor music edit or very obvious ADR, we’re missing the opportunity to hold the magic that cinema can bring.”

This philosophy has guided him through a career that includes high-profile projects like Baz Luhrmann’s 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, “When people create space for you to bring your full self to work, it changes everything.”