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Chris Gregson is one of Australia’s most experienced commercial audio creatives, with more than 30 years across radio, copywriting, production, and creative leadership. Today, he leads the creative division at Tapt Media, overseeing teams across Sydney, Melbourne, Brisbane, and Perth.

We sat down with Chris to talk about radio copywriting, producing effective audio campaigns, creative leadership, voice casting, and why the best audio ads know when to stop talking.

Chris, Tell Us About Your Career in Radio & Audio

Chris’ journey into radio started back in 1990 after studying media performance at WAAPA (The Western Australian Academy of Performing Arts).

His first radio job was in Esperance, where he walked into the station one morning to discover the previous announcer had literally removed all the equipment from the building overnight.

From there, he worked across stations including 6IX, 6AM, 2LT, 2UE, Wave FM, and eventually 2GB – where he’s spent almost two decades creating commercial content & audio campaigns.

Today, in the Tapt Media network, Chris leads a creative team spread nationally across Australia.

What Small Production Choices Make Commercials More Effective?

This answer was simple.

Chris believes one of the most overlooked tools in audio production is silence.

“A moment of rest,” he explains.

That small pause inside a commercial can completely change how a listener reacts. In crowded ad breaks filled with noise, music, and constant talking, silence grabs attention. It creates contrast, and contrast creates focus.

Beyond that, Chris says great commercial production often comes down to spending extra time on:

• Music beds
• Sound effects
• Pacing
• Space
• Unexpected audio moments

Effective commercial production isn’t about making something louder. It’s about making people lean in.

Can Great Production Save a Bad Script?

To a point.

Chris says the first instinct is usually to fix the script itself.

“If the script’s bad, I can’t help myself,” he says. “I’ll probably call and say, ‘I want this to work, but I don’t think this is it.’”

But when production does need to elevate a weaker script, casting becomes critical.

A strong voice actor can dramatically improve delivery, realism, and engagement. And when budgets allow, directing the session live makes a massive difference.

That’s something often underestimated in podcast advertising and commercial audio production:
direction matters. The same script can feel completely different depending on performance.

How Do You Give Creative Teams Freedom Without Losing Focus?

Chris’ philosophy is refreshingly straightforward:

“Go nuts creatively.”

He encourages teams to explore ambitious ideas, different voices, unusual approaches, and bold campaigns. But there’s always one reality check in commercial audio – the campaign still has to work.

Ultimately, the goal isn’t winning creative awards. It’s helping the client sell products, build brand recognition, and generate response.

“My only real win is when the campaign works and the client comes back,” Chris explains.

Do You Ever Think ‘I Wish The Copywriter & Producer Hadn’t Done That?’

Without hesitation, Chris points to one of radio advertising’s oldest clichés: the forced two-person dialogue.

“You know the ones,” he says.
‘Hey, where are you going?’
‘I’m heading to the shop!’
‘Can I come too?’

The problem isn’t necessarily the format itself. It’s believability. Chris believes situational dialogue only works when:

• The performances are exceptional
• The writing feels natural
• The scenario sounds believable
• The campaign has enough variety to avoid burning out quickly

Otherwise, audiences immediately disengage.

His broader advice? Don’t overwrite. “Give the script some room.” Great audio often comes from restraint, not excess.

A Campaign Chris Is Still Proud Of

One campaign Chris still loves is for Breakout River Meats, a butcher in Cowra.

The brief was simple: encourage people to buy meat from local butchers instead of supermarkets. The campaign itself wasn’t overly complicated, but every element worked together:

• A consistent voice
• A recognisable music bed
• Strong scheduling
• Clear branding
• Sparse, confident writing
• Long-term consistency

The campaign used legendary voice artist Mike Drayson, combined with blues-style harmonica music and restrained production, and the ads became instantly recognisable.

Most importantly, they worked.

But great audio campaigns aren’t built on creativity alone. They require:

• Commitment from the client
• Consistency in execution
• Strong production
• Repetition, and
• Patience

Chris’s Final Thoughts

The best audio isn’t overcrowded. It’s intentional.

Strong production choices.
Clear writing.
Good pacing.
Authentic performances.
Consistency over time.

Whether you’re producing radio campaigns or podcast ads – these fundamentals still matter.

Listen to our full chat with Chris here.