Left to right: James, Seb, Ben, Karen, Sam
No.8 has made a name for itself as one of Soho’s sharpest post houses, marrying visual flair with sonic precision. Since launching in 2019, the studio’s audio department has steadily grown into a creative powerhouse – one where craft and collaboration drive every project.
Now, with the recent official launch of No.8 Music, the team has stepped confidently into a new chapter, bringing in seasoned talent and setting their sights on more narrative-led, emotionally resonant work.
At the heart of this expansion is No.8’s belief in seamless integration: sound design, composition, dialogue, and mix, all working in lockstep rather than in silos. From global campaigns to tightly-crafted indie spots, the company’s approach is rooted in thoughtful storytelling and a ‘better together’ ethos. With the addition of Seb Bruen as creative director of music, and a growing roster of composers, producers, and musicians, the music arm brings fresh energy – and some serious ambition, all the while playing as part “of a fluid creative ecosystem” with No.8 audio. Seb tells us that “This approach means sound and music aren’t afterthoughts; they’re part of the narrative from the very start.”
LBB sat down with him, as well as Sam Robson, creative director and partner, Barny Wright, managing director and Ben Gulvin, senior sound designer, to talk evolution, ethos, and what it takes to build a sound offering that’s both creatively open and commercially sharp.
Sam> The obvious one is the addition of Seb, who joined us to head up a music offering at No.8. We were conscious of the fact that if we were to be taken seriously in that field, it was all about getting the right people through the door, and in Seb and his team, we now have exactly that.
I completely trust the process of them taking and nailing any brief – whether that’s finding a sync track or creating something bespoke from the ground up, there’s a reassurance they can sit on a call with clients and happily deliver what’s being asked.
Barny> Establishing a dedicated music offering has been a goal for No.8 for some time. The crucial factor in making this a reality has been bringing Seb full-time into the team. Our core philosophy revolves around the power of collaboration to elevate every aspect of our work, from VFX and audio, to advertising and film. The principle of ‚better together‘ is fundamental to our success, and now, with Seb leading our music offering, we can extend that strength to provide even more creative solutions for our clients
Seb> We definitely see them as part of a fluid creative ecosystem. While audio and music are technically different crafts, in practice, they feed off each other constantly, especially in the kind of work we do. Our aim is to encourage a truly harmonious process between sound design and composition, where one enhances the other, rather than existing in isolation. Having everything under one roof makes a huge difference – It allows for constant collaboration, especially on projects that are more musically driven or rely on slogan-heavy, lyric-based work. We can bounce ideas around in real time and shape the sonic world from the ground up.
There’s also a blurred line between music and sound design that we love to explore. Whether that’s building a tonal atmosphere around a sync track, or creating something entirely bespoke from scratch, it’s a space we enjoy expanding into. For us, it all comes down to storytelling, and now that the music team is fully integrated, we’re able to craft sonic identities that are considered, cohesive, and emotionally impactful. We’ve always believed that the best work comes through collaboration, not just between people, but across disciplines. This approach means sound and music aren’t afterthoughts; they’re part of the narrative from the very start.
Seb> To be honest, we’re excited by all kinds of briefs. This is a fresh chapter for us, and we’re really keen to show how we can help brands tell their stories with a unique, heartfelt identity. Of course, the bigger the better – but we’re just as passionate about carving out time for the more intimate, creatively rich projects too.
We’re especially drawn to genre-bending briefs – anything that lets us tap into our extended family of amazing musicians and really push boundaries. We’ve already worked across styles, from k-pop and jazz, to afrohouse and orchestral scores, and we love nothing more than building the right team around a brief.
The music arm allows us to dive deeper into narrative-led work. We’re lucky to already work with some incredible brands, directors, and agencies, and we’re always on the lookout for partnerships that want to do something a little different.
Dream collaborations? We’d love to work with a director or brand that’s up for really experimenting with sound, creating something unexpected that leaves a lasting impression.
Sam> For me, it’s the age-old mantra of giving every single job that comes through the door the craft and respect it deserves and not taking any project for granted. Clients trust us to provide them with the best audio offering we can, and I think it’s extremely important we fulfill that. We’re certainly of the mindset that if time allows us to improve on a mix and better it in the long term, that’s something we fully welcome. The flip side of that is when the deadlines are shorter and we adjust as a team to contribute on certain areas of a job, splitting who cleans up dialogue while someone else looks at the sound design aspect for instance isn’t unusual. It brings the team together and helps with making everyone feel included in a creative way.
We as engineers are multiskilled, which means there’s no one person who mixes our projects for cinema or is more experienced at directing talent for a radio spot. I think it’s important to keep everyone motivated by putting them on as many varied projects to broaden their skillsets and their working day.
Seb> Emotional storytelling, whether that be an indie short film or a 30-second campaign, the music should elevate the picture, not just match it.
At No.8, we benefit from sitting right at the heart of the creative process. That means we can shape the sonic narrative in a really considered way. Our team, including my creative partner Ben Riches, has a vision to keep things collaborative, bespoke and rooted in craft.
We’re lucky enough to have built a robust musician roster through relationships with some of London’s most exciting session musicians, bands and vocal artists, helping us to cultivate an authentic and unique approach to each project and our compositions.
When we’re approached by clients with music briefs, we of course will understand the objective characteristics of the music, but what we really need to understand is how the music makes them feel. This is the trickiest part, because how do you describe an emotion? So as artists we have to swap hats and almost psychoanalyze the creatives to really understand what the music means to them and how we can recreate that. It’s not going to be a direct ‘sound-alike’, it needs to ‘feel-alike’.
Seb> There’s a time and place for both, but for us, original music offers a level of nuance and emotion that’s hard to beat. A great licensed track can set the tone, but a bespoke composition can define it. With original music, you’re not just choosing a sound, you’re crafting it around the visuals, the message, the pacing… even the silence. And because we have that in-house at No.8, it’s a much more fluid and creative process. Bespoke composition is also just more fun! We get to dive into the nitty gritty of a project, its sound, message, and work with live musicians. We can also experiment with different recording and production techniques to really dial in on specific sonic characteristics.
Ben> I think any creative expression has a form of story embedded within it. You must understand the film structure and the pace. Sound design has a vital role within that process, serving as glue for the edit, along with all the post work, which adds the life, texture, colour, and comprehension to a film.
There’re technicalities as with each job, but no two mixes will be alike, so finding that definition that compliments a piece of film is integral.
How do I see that evolving? I don’t see that art form evolving if the industry decides or is forced to strip away investment on quality production. A rushed cost cutting service will not produce the finest examples of work or engagement from the audience, in turn hindering development of new talents.
Ben> It’s no secret that the level of work No.8 produces for our clients is exceptional and always with the idea to provide the best possible outcomes. I want to be at a place where I can continue to develop my own abilities. Push on with my own creative output and achieve recognition from that. To collaborate on impactful projects.
I have an opportunity to help develop upcoming talent, which I relish. To reunite with Sam Robson is an easy fit – we know what we can provide and will provide going forward. To have been so welcomed by all here is a great feeling, there’s a lot of talent in these buildings from the experienced industry leads, to the fresh, new, young talent ready to get started. No.8 isn’t going anywhere but up, I am excited to be included in that future.
Ben> It’s an interesting question because I think that has always been the case. Sound is exciting and actually very hard to convey if it’s not something you’re familiar with. The process, however, is always a bit of fun.
Creatives, producers and directors tend to have a definite idea on what they want to achieve with sound, to convey that isn’t always easy, it’s our job to explain that brief. What I find more common now, is the trust a designer is given to provide insight for the campaigns and films, to explore routes and ideas that we create together. Perhaps that’s conclusive of experience but it allows exploration in the craft.
As technology has advanced, sound has gained bigger production value. You never really feel something isn’t achievable from a brief. Clients know this and want to explore new concepts and ideas, how you achieve it is another matter.
Seb> Yes – we’re currently deep into a multi-track global campaign with a well-known Japanese brand, and it’s been a fantastic opportunity to show the breadth of what we do. For this one, we’ve composed everything from an electro-acoustic orchestral piece – blending real instrumentation with layered synthesis – to a series of nostalgic, vocal-led rhythm & blues tracks with an uplifting energy.
It’s been a great opportunity to flex some different creative muscles and really showcase the breadth of our music offering. The campaign goes live in August, and we’re excited for people to hear just how expansive and versatile the No.8 sound can be.
Seb> Well, with any luck, there will be some serious wobs emanating from the mews…
We’re excited to start this fun chapter and create some great work. We’ll be announcing a music launch party in the coming months to showcase the team and some of our great artists. And with the new Jam acquisition we’re hoping to expand musical offerings alongside that.
Oh and an awesome, top-secret project releasing soon. Watch this space!