Uprising: Isaac Matus Finds the Subtlety and Nuance in Everyday Sounds

Now a sound designer at Wave Studios in New York, Bogotá-born Isaac Matus took his first steps towards his current career at a young age. Always a music lover, he was exposed to free improvisation and avant-garde music as a teenager, which helped him appreciate the artform for its emotions, aesthetics and sonic characteristics, rather than what was deemed ‘right’.

Living in Brooklyn, his creative life is all-encompassing, sharing his interests in audio post-production, sound design, world and electronic music, experimental art, theatre and more with his group of like-minded friends. “I moved here because I felt it was one of the few places I’d be able to explore all of these interests to an equal extent,” he tells LBB’s Ben Conway, “and where I’d be able to find unique experiences in all of those seemingly different, but sometimes easily connectable worlds.”

Isaac first started linking these worlds at Berklee College of Music, where he studied music production, arranging and sound design. Learning from the classes and the incredible musicians surrounding him, he entered the university as a guitar player, but left with a wide gamut of proficiencies, from arranging and producing to synthesis, using Colombian percussion and wind instruments, and more. 

“Learning to navigate between projects using different skill sets was a very formative experience for me, more than trying to master one thing tirelessly - I absolutely respect that approach, but it just didn’t feel like it was for me.”

After graduating, Isaac moved to New York and heard about the opening of Wave Studios through an old boss. Attracted by a particularly artsy and sonically creative adidas campaign he saw on a visit to one of their studios, he applied and secured an entry-level position at the end of 2018.

“My first professional project as a sound designer involving clients was a campaign for Ghetto Film School with Wieden + Kennedy NY,” he shares. “I remember feeling great about getting to work on it because I resonated with the intention of the campaign - it was aesthetically interesting and Spike Lee not only narrated it, but is involved with the programme.”

In the few years since then, Isaac has continued to learn from the expertise of Wave’s senior sound designers, including Chris Afzal and Aaron Reynolds. Their “distinct and impactful approaches to sound design” have taught him unique perspectives, as well as relaying to him a multitude of technical tips, the importance of emotional resonance, and a deeper understanding of the craft.

One of the most valuable lessons has been the separation of ego and craft - a vital step in any creative endeavour, “as wannabe-zen as it may sound,” says Isaac. “It’s not always easy because most of the time, creative work has some degree of personal involvement. So when something that you’re bringing to the table in a collaborative project isn’t working, it can be easy to take it somewhat personally, but it’s not [personal]. Classical music percussionists are a good example of this in that sometimes they have one or two cymbal hits in an entire composition because that’s all the piece requires, and nothing else.”

He adds, “Sometimes I have to remind myself that not all sound design needs to be complex and involved to be interesting and important. Sometimes it’s about finding the subtlety and nuances in everyday sounds, and that is what enhances the story.”

Isaac particularly enjoys being experimental in projects with high production values - something he explored last year with a campaign for Toronto’s major paediatric teaching hospital, SickKids. Working with the Cossette agency, this milestone work in his portfolio involved intricate sound design, paired with otherworldly VFX, a touching message, and a Billie Eilish song he had to edit.

One particularly gratifying aspect was the opportunity to employ one of his favourite techniques: granular processing. “I utilised this approach with voices, natural sounds, and various everyday objects found throughout the spot, not only to align with the particle-like visual effects but also to convey the essence of PCH (Precision Child Health) scanning and analysing patient data in intricate detail, potentially averting sudden heart attacks.” 

“This project allowed ample room for exploration and encouraged a creative and somewhat experimental mindset, which I always find invigorating,” he continues. “However, one of the most challenging aspects of the campaign was having to work on the sound design while the VFX was also being developed. As I crafted the PCH sound, I would often receive updated VFX passes with new timings and aesthetic elements, necessitating constant reevaluation and adjustments - a common occurrence when blending complex VFX and sound design projects within tight deadlines.”

This frequent challenge, says Isaac, could be eased by allowing the sound design process to begin earlier, instead of packing weeks’ worth of work into a few days at the end of the project. “I think that sometimes sound is viewed as an afterthought and we’ll see a month-long schedule with two days for audio at the end… Being able to factor in a longer timeline for the sound is crucial to creating a better product.”   

He also believes that there’s more room to take creative risks and push boundaries in audio and adland more widely. To his frustration, he reports that sometimes a team’s complex sound design will even be lowered or removed entirely to make room for branding or a voiceover, instead of being woven in to complement the other elements.

But where Isaac is truly happy is in a balance between self expression and unrestrained creativity, where he has no constraints on his work. With this philosophy, he stays active within New York City’s vibrant music communities, as a member of several musical projects and as a solo artist under the name ‘Matük’.


Meanwhile, at Wave Studios, Isaac continues to take advantage of his surroundings, taking inspiration and advice from his peers and seniors, including founding member Johnnie Burn. Johnnie’s extensive experience in the film industry spans collaborations with renowned directors such as Yorgos Lanthimos, Jordan Peele and Jonathan Glazer, among others - so as the young sound designer continues to develop, he’s certainly learning from some of the best.

“What sets Johnnie's work apart is its ability to immerse viewers deeply within the narrative fabric,” he says, “whether through big and notorious sonic gestures, nuanced elements or the subtle orchestration of unseen but deeply felt auditory cues (like in Jonathan Glazer's ‘The Zone of Interest’).”

“Achieving such narrative resonance across a spectrum of styles within the industry is a goal I aspire to realise in my own career journey.” And after his emotional work with SickKids, a comedic Super Bowl spot for e.l.f cosmetics and more, it’s fair to say he’s well on his way.