This is: Gavin Little
Gavin talks about his journey to success, his numerous projects and founding ECHOLAB
Gavin Little is a sound designer, film score composer and founder of ECHOLAB, a sound studio that specializes in producing Cinematic Sound and Audio Branding for Advertising, Film, Trailers Interactive and VR projects. ECHOLAB has been listed on the Motionographer.com ‘Cream Of The Crop’ Top 20 sound studios worldwide every year since 2008 and they’ve worked for clients such as Nike, Google, Apple, Guinness, CocaCola, Samsung, Nissan, Audi, Ericsson, Philips, Formula 1 and many more. We had a chat with Gavin about his journey to success, his projects and his hands-on experience with ERA-D.
Q: Tell us a bit about yourself and about the story of ECHOLAB.
I established ECHOLAB in 2001 and for the first 12 years it was just me, Gavin Little, but now I have a small team of 2 composers and one audio ninja who collaborate with me on each project. I am based in Dublin, Ireland but working with clients around the globe. We specialize in creative sound design working mainly on commercials but we also create a lot of sound design for feature film trailers.
Q: What was your breakthrough moment?
In 2009 I was busy with projects but not creatively happy and decided to create a promotional teaser to show off my personal style of sound design - the type of projects I wanted to be working on. The promo went viral online and a lot of International directors and agencies started to get in touch with projects that were more suited to my personal “ECHOLAB” style of sound design.
Q: What do you enjoy the most about your job? And what do you think is the biggest challenge?
I mostly enjoy the variety in my job. I can start the day working on signature sounds for a new Hollywood blockbuster and then move onto a cool motion graphics commercial and finish off working on a live action short film or 360 Audio for a VR project - This variety keeps me from ever getting bored. Being known for a specific ”ECHOLAB” style of sound design has it’s drawbacks - I constantly have to make sure that everything I create is unique while still having the - “That sounds like ECHOLAB” vibe!
Q: In your everyday workflow, when do you find yourself in the need for audio repair? What are the most common use cases?
I am often sent recordings from live action shoots where dialogue has been recorded in locations with background noise, room reverb and uneven recording levels. I find the ERA bundle invaluable for helping repair audio. One example of this was on this film for Nike. LeBron’s dialogue was recorded on set and there was a lot of background noise and room reverb. I used ERA D to repair the audio.
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