Sound Engineer Giselle Hall Loves the Speed and Variety of Advertising

Giselle Hall always knew she loved music. How to translate that love into a career was the part she had to figure out. Like so many others, Giselle wasn’t aware of the career options that post production could offer but, thankfully, a university module changed all that. 

Giselle started her career in documentary and long-form before getting a taste for advertising during her time at Craft/McCann, which she quickly realised was her true passion. Favouring the quick turnaround times and the variety of projects that advertising offers, Giselle feels right at home at 750mph, having joined nine months ago. In that period of time, she’s worked on documentaries highlighting women’s issues, fun celeb-filled spots, and the recent Periodsomnia for Bodyform. 

Keen to get stuck into anything “sound design-heavy and creative”, she tells LBB all about her path to where she is today, and shares thoughts on the state of the industry.

Giselle> The initial attraction for me was music. I was really passionate about music and thought, maybe I'd like to work in the music business. So I went to university and completed an undergrad, which didn’t steer me into anything specifically. So after a couple years travelling and having taken some time to think about it, I decided to return to school for audio production. When I was there, it wasn't until I did a module that was about post audio that I became aware of post sound and all the work that went into film and TV after the fact, after production - I grew really interested in that. From there, it changed my path and that was kind of my focus from then on. 

I think this is sort of a niche industry. I mean, it's huge, but in a way, you're not really exposed to it. Like growing up and all throughout highschool and university. In my time, it was never really an industry that I was made aware of or introduced to at an earlier stage. 

Giselle> After school, I became a runner at a post house in Soho, which dealt with factual and long form work - I wasn’t quite in audio yet. I worked my way through the channels, from runner to machine room op to gain an understanding of the workflow and all of that. And from there, I went into audio as an assistant and later became a tracklayer, over time getting more hands on, starting to work on sound design, voice records and prepping sessions ahead for the mixers to pick up for the final mix. Eventually, I was thrown in a different direction when I landed at Craft - advertising, short form - a completely different workflow, but I ended up just really, really liking it. There’s something to appreciate about the quick turnarounds and variety of brands - the work is far more varied so it keeps things interesting. 

LBB> What attracted you to 750 specifically?

Giselle> Working with 750mph presented a perfect opportunity for my career progression and to move somewhere that offered such good scope in terms of projects and also just the calibre of engineers that work here, there’s so much to be gained. It’s such a good environment, offering lots to challenge me.

LBB> Of all the projects you’ve worked on during your time at 750mph, which stands out the most and why?

Giselle> I’ve been with 750mph for about nine months, after joining in November last year. A few projects stand out for different reasons. Recently, I worked on an Evian spot featuring Emma Raducanu and Dua Lipa running through the steps on how to perfect your forehand. It was really light-hearted and fun.

I also worked on a Bodyform spot called Periodsomnia, which was great - quite fierce. I also liked being involved in something that’s raising awareness of an important issue.

When I first started, I worked on a short Netflix documentary called Women of the Market directed by Tavie Agama. It was refreshing. It was just a very sort of raw, cultural, authentic piece based around these women who work in various London markets, telling their stories about what it’s like being women in their industry. It felt rewarding to be a part of and to contribute to this work… providing a platform for these stories that might otherwise not be heard.

Giselle> Ooh, post sound can be made up of so many different elements. It really depends on the project, but I always like to consider the music first, where I can. It's nice to get the music to a comfortable place (audibly) and recognise moments where it might be accentuating things. And, from there, just keeping that in mind when it comes time for sound design, ultimately working towards a well fused mix. But, yeah, in short, I like to give attention to the music and then take it from there. 

Giselle> It depends on the project but, usually, I prefer a clear brief. I do like detail but with a little room to manoeuvre. I think it’s important to start with some direction in one way, shape, or form. 

LBB> Do you have any creative heroes that you turn to for inspiration? Or is there anyone that has influenced your thinking on craft?

Giselle> I don't have any creative heroes, no. But I think I've learned something from pretty much everyone I've worked with since I started out. I think that’s cool. It’s just a continuous influential cycle. 

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Giselle> I’m not sure how much the advertising industry has changed, you know, the big picture. But I think when advertising is trying to be relatable there’s nothing better than employing music and sound. And music being an element of sound… they just go hand in hand. They evoke feeling, emotion, nostalgia, it’s a relatable force. I think their role has always been important and will remain important.

LBB> The quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. 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) - does that factor into how you approach your work?

Giselle> I think it's always something that you think about, but it is what it is. You can monitor your mixes on various devices but I think, really, you have to cater to the platform you’re delivering to. So I’d approach it case by case. But, ultimately, I want anything I produce to sound as best as possible wherever / however you’re listening.

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 alone in a team? 

Giselle> I think it's case dependent. Ultimately, working in a team is always a good thing because one person is going to bring something that the other isn’t… just based on our individual experiences and perspectives and the way we approach things. So I think you're going to get a sort of better, bigger picture working collaboratively rather than individually. Having said that, I think there are times where it's sort of just suitable to work solo. It is case dependent, but collaboration can be a great thing. 

LBB> Do you have any memorable professional collaborations?

Giselle> I do remember being in a session where I was working with a composer. He was sitting next to me - composing - as we were working, with the clients sitting behind us. So it was a pretty interesting scenario, quite reactive. It was like, create - mix in - feedback - recreate - mix in - feedback, so on and so forth. That was quite fun. I don't work with composers directly like that, where they're sitting in a studio with me and with their kit, creating something on the spot. So, for me, that was a unique experience. 

LBB> Post production in general has a reputation for being a boys’ club. Do you think this is changing, and in music/sound specifically?

Giselle> It is true, but I think that we're making progress. I cannot tell you how many times I've had people come in and comment on the fact that I'm a woman. Not in a negative way, but there is that thing where you sort of think that people might doubt your skill set or ability, simply because you are a minority in your field. I have to hope that with time and more exposure - doing interviews like this - more doors will open for more women to advance on this career path and be more visible in this industry.

When I started out as an assistant, there was a female engineer on our team. It was really good for me to see her work and engage and sort of “be raised” in an inclusive environment like that.

LBB> Finally, what's on the horizon for you? Any dream projects that you'd love to work on?