Rachel Scott’s World Building Approach to Sound Design

Rachel Scott is a London-based sound designer whose love of music shaped her path from studying electronic engineering and music technology at the University of York to earning a master’s in sound design for film and television.

After formative years at Grand Central Recording Studios and No.8, Rachel joined Harbor’s collaborative sound team, where she weaves layers, textures, and nuance into emotionally-rich, detail-driven soundscapes.

This year, she was shortlisted three times at the Young Arrows for her work on Burberry’s campaign starring Olivia Colman, Nike × Spotify’s ‘Make Moves’, and ING’s ‘Hungry Llama’.

Rachel spoke to LBB about reinforcing emotions through sound design, how she pushes the creativity of her projects as far as possible, and different brand approaches to developing their sonic identity.

LBB> When you’re working on a new brief or project, what’s your typical starting point?

Rachel> Firstly, I’ll start by watching the offline audio and seeing what the intention is for the sound design. It’s a great starting point to see how sound was considered during the filming/edit.

I am then most interested in what the piece is trying to make people feel, and how the sound design can reinforce this. I usually think in terms of environments and textures first. Building the atmosphere gives me a foundation, then I layer in the details that push the story forward and make the world feel alive.

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LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity. What are your thoughts on this?

Rachel> Collaboration is the best part of this job and the main focus of our team here at Harbor. Sound design is about serving a bigger picture and that means constantly talking, testing, reacting and adapting with other creatives – bouncing back and forth to see what works best.

Within our team, we tend to share projects and make sure that, while someone is always leading, everyone has space to input. We find that working in this way means we can creatively push projects as far as possible, uncover new ideas, and ultimately give the best outcome for the overall vision.

LBB> What’s the most satisfying part of your job and why?

Rachel> When sound transforms an edit from ‘working’ to ‘working emotionally.’ It reminds me why sound matters so much and gives me a real buzz knowing I helped shape that experience.

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

Rachel> I think brands understand that the sonic identity of their work is as essential as the visuals and is less than just a supporting layer. With content living across immersive cinema, mobiles, TikTok, etc., audio has to function intelligently in every context. It is becoming more strategic, more intentional and more integral to how brands communicate.

LBB> Who are your musical or audio heroes and why?

Rachel> I look up to designers who build worlds, not just effects. People who use sound as narrative language. I also admire composers who blur the line between music and sound design, creating emotion through texture as much as with melody. Those are the kinds of ideas that shape my own approach.

LBB> Are there any ideas or pioneers you go back to frequently?

Rachel> The principle that silence is powerful. You don’t need to fill every second. Choosing when not to play something is just as creative as what you add. I also return often to the idea of sound as a point of view. Where are we hearing from and how does that reflect the story?

LBB> When you’re doing admin or non-creative tasks, do you listen to anything?

Rachel> If I’m doing admin, I like a bit of background music, usually some solo R&B or neo-soul. However, I’m easily distracted, so if a task needs my full attention, I have to work in silence.

LBB> The listening experience is split between immersive and low-quality on-the-go. How does that impact your work?

Rachel> It’s a challenge because when working on a project, you really have to consider both. I want the work to sound incredible in a cinema with full dynamic range, though I also have to consider that many people might first hear it on a phone. I'm constantly switching between different speaker set ups to make sure the mix will translate well across all platforms.

LBB> On a typical day, what does your listening diet look like?

Rachel> A blend! Most days I walk to work and usually listen to podcasts – I love it when a new ‘Tonebenders’ episode comes out! During the working day, whenever I’m not on a project, I’m probably flicking through Instagram/David Reviews and seeing what new campaigns have come out! I love seeing what creative new ads have been released. I get so inspired by them! I also love following up-and-coming creatives and seeing what they're working on. I mainly listen to music in the evening to unwind.

LBB> Outside the music and sound world, what topics or art excite you?

Rachel> I’m drawn to storytelling, especially in film. I love how a strong visual world can shift your perspective. Travel gives me a similar feeling. Experiencing new places, cultures and rhythms opens me up creatively and keeps me curious. Travel, architecture, even a busy street corner can teach new rhythms and shapes that influence how I build an atmosphere.

LBB> What has travel contributed to your sound inspiration?

Rachel> Travel reminds me that sound is deeply cultural and personal. Every place has a sonic fingerprint. It’s so crucial to make sure that the environment in a scene is built correctly and feels honest. I travelled to Bangladesh, India and Sri Lanka at the start of this year. It was amazing to experience South Asian culture. Delhi and Dhaka were so fast paced and busy, I wish I had recorded some BGs whilst there!

LBB> How has your relationship with sound changed as you’ve grown into your career?

Rachel> I listen more intentionally now. As a kid, I was aware of sound instinctively, but working professionally has made me much more curious and analytical. I appreciate the craft behind things, and I notice the smallest design choices in everyday life.