Audio Academy – a joint initiative of radioinfo and Abe’s Audio.
Learn from experienced professionals across the audio industry.

Legendary producer (and SCA’s National Head of Audio Production and Sound Design) David Konsky unpacks the small things and creative decisions that can take your audio production from good to great.

Konsky, what’s something small you do that makes a big difference to how an ad sounds

It’s never the obvious big voice, big music, big effects; the real magic – “something small” – is in the micro dynamics.

Start with VO: every word, every line is treated and edited: volume automation line by line, constants shaped, plosives tamed down, bye-bye to mouth clicks, breaths and sibilance handled because I don’t always have control over where the VO is recorded and what mic and processing were used.

When everything is mixed, I will always A/B through secondary reference monitors and think about how would a consumer/listener hear it. This is generally done through a small Bluetooth speaker or my Mac speakers.

Have you ever taken a ‘bad’ script and made it work just through production? What did you change?

Yes. Generally, I curate the music to create confidence, feel and emotion which creates structure. It makes a huge difference to help the CTA (call-to-action) land.

For audio producers/sound designers starting their career, what’s one simple thing they can do to make a commercial sound instantly better?

Less is more – don’t think more SFX, more movement in music beds, more layers. (Ask yourself) “Does the VO cut through?” 

Always have the filter “what can I mute or remove that makes this better, and gives the VO space for a clear CTA?”

Do you ever intentionally break ’the rules’ to make audio stand out? What

What is this word “rules”?! Besides a time limit, everything is colour outside the circle.

In the instance of a commercial, know what must stay, but be ruthless and deliberate with taking a word/s out if it means you create space for impact, a pause to grab attention, to accentuate the CTA, add in FX, leave in laughs or a reaction/outtake from the VO that’s going to highlight the CTA or product and make it feel alive.

5. What’s one audio ad/piece of content you’ve worked on (or heard) that really nailed it – and why?

I’m fortunate to lead a brilliant group of creatives who produce audio brilliance daily. In our world of broadcast radio, podcasting & TV, everything is designed as an earworm that creates a connection and brand recall that connects and sticks.

For me, it’s all about emotional connection and feel.
Here are some spots I’m really proud of. These are re-imaginations of existing songs.

Triple M Melbourne’s “Shut Up Footy’s On The Radio”.
Original created in 2024 and re-imaged finals version. The creative brief was to amplify the sonic for Footy as an epic finals theme.

Fifi, Fev & Nicks Underdogs.
Taking Katy Perry’s Roar and reimagining it as a theatrical piece with a kids’ choir.

On the podcast side, our LISTNR team produces across multiple verticals from entertainment, sport, news, documentary, true crime, life and society, a lot of audio brilliance in each one.

One recent standout for me: Hamish & Andy’s Burg Boys; Marshy and Darcy crafted it so you felt part of the adventure, hanging onto every moment.

Listen to our chat with Konksy here.