TOO LOUD ENOUGH
PRODUCTIONS
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we make the noise
IN COLLABORATION WITH OF SOME OF THE LOVELIEST AND MOST TALENTED HUMANS ON THE PLANET, WE PROVIDE WORLD-CLASS AUDIO SERVICES TO THE BROADCAST AND MUSIC INDUSTRIES, AND DEVELOP GROUND-BREAKING NEW MUSIC FORMATS AND BRANDED CONTENT FOR LINEAR & SUBSCRIPTION TELEVISION NETWORKS.
TooLoudEnough is me, Oliver (Ollie) Waton, and the crews that I assemble for telly and music projects around the world.
I'm passionate about people, music, and great TV: In that order. And being lucky enough to find myself combining all three of those magic ingredients in almost every project I'm involved in these days, is truly an honour and a priviledge.
Under my supervision, we have been trusted to deliver world-class audio for live, studio, reality, game-show, late-night, prime-time and variety tv formats, and now also work to devise and produce some of the most exciting and groundbreaking music formats in the world.
The fact that so many people like the results, is the icing on the cake.
SOUND SUPERVISOR & AUDIO DIRECTOR
I was only 23 when someone first handed me the responsibility of Sound Supervising a network television production. That show was "Up All Night: The Secret Life of the Nightclub Toilet", sure. BUT it lit a fire in me, showed me that if I continued to work my socks off, learning and absorbing all the amazing knowledge that lived in the heads and ears of my colleagues, I might one day achieve my aspirations. And it seems that I didn't do too bad a job of that original show, because I've been lucky enough find myself looking after bigger and bigger shows every single year since. From Love Island reality, through to huge music shows like Building the Band, people still seem to appreciate the way I work and the teams I bring along for the ride. There's a few examples below of the kinds of projects I have the pleasure of looking after. If you feel like having a browse and seeing what I do, be my guest, and if you have a project coming up that is maybe a little bit complicated, or just needs a bit of a musical ear, please give me a shout and let's make something great together.
Festival, studio, and live event music mixing with comprehensive preproduction included
Audio, playback, MIDI, and system design services for shows that are just that extra bit complicated.
Audio planning and delivery for live, as-live and recorded studio, reality and ob entertainment programmes
Audio consultancy for one-off music films one-shot set-pieces and other specialist content.
show creator & exec. producer
In 2024, having spent fifteen years making other people's wonderful shows, I put my money where my mouth is and devised, planned, and pitched a television project of my own. I can't talk too much about it in open forums just yet but with a little luck, in 2026, the first project of my own creation will be hitting global screens. It's a full-circle moment really. I was lucky to be joined at university by some of the most incredible musicians in the UK in one big melting-pot of creative energy. Some were engineers, on placement at verious studios around the world - like Abbey Road or Monnow Valley - and others were pretty-much full-time session players or artists in their own right; just about fitting-in lectures between tours and gigs in London. And our favourite thing to do on a weekend? We would throw everyone in a van, as much kit as we could carry, and we'd drive off to a studio that was empty for the day and take advantage of the huge inspirational boost of being in the same recording space as some of the greats. I'd enroll friends and friends of friends to come and be camera people - in those days shooting on Cannon DSLRs and Panasonic HDCams, whatever we could get our grubby little hands on - and create no-budget session videos of us playing. Sometimes live performances that we agonised over for days, other times a completely live and off-the-cuff moment of magic. To now be producing these kinds of fundamental and moving musical moments and being PAID for it... is an absolute dream come true. And I'm very excited to share the results with the world...
Ollie's Bio
From my first fee-paying gig, aged 9, playling Elvis covers to a hard-of-hearing congregation in the church hall, making noise is the only thing I've ever been paid to do.
Starting out on drums and percussion before I could read, throughout my childhood I played for big bands, concert bands, orchestras and garage bands, every spare minute of every day; I lived it. My parents, selflessly driving me (and instruments) from gig to gig and town to town all through my early teens. By 15, I was headed-out on my first international music tour as a solo xylophonist playing Katchachurian's "Sabre Dance" to mild-mannered and bemused Europeans in otherwise peaceful town squares, and by 18 had a steady income playing weddings and covers shows with bandmates twice my age.
At school, I had also discovered a secondary passion for microphones, speakers, electronics & making things. So if I didn't have a drum stick in my hand, it'd be a soldering iron or a screwdriver; pulling apart my family's electrical goods for fun (with varying degrees of success in their re-assembly) or building soapbox carts with my friends in the neighbourhood. Practical 'fiddling' was my favourite thing, and as it turns out, becoming an audio engineer means that's basically the whole gig!
I began working as crew in my hometown theatres when I was sixteen, and with the help of a hugely encouraging boss, I specialised in audio, finding myself mixing FOH for sellout shows and pantomime runs before I had even left school. This was the real 'start' of the audio obsession that I've essentially build my career to satiate.
Once I'd finished all my compulsory education, I zipped off to the Tonmeister Programme at the University of Surrey, and spent my years there attempting to balance work, study, and creative projects – working as a drummer in evenings and weekends, and producing some of the the incredible musicians who either visited or also attended what was an amazingly well-revered music department. One of our favourite things to do on a weekend was visit a studio that was empty for the day and shoot a "live session"; a few musicians simply having the time of their lives creating things together.
When graduation came around, my raging drums & microphone habit meant I really needed to go and get a 'proper' job, as London landlords simply weren't going to accept rent in the form of Magic Beans.
Thankfully, a spot opened up to join the audio crew for NEP UK (Roll to Record at the time) on Big Brother where, training under the hugely respected Peter Vasey, I dove head-first into the intricacies of both broadcast audio systems, and Television Sound Supervising; an incredibly niche skillset when combined that has become so integral to my work in the years since.
Between 2011 and 2018 I was incredibly fortunate to find myself in an enviable freelance position that allowed me to work my way up the ranks, guaranteeing and supervising international television projects whilst also (in whatever 'holes' I found or could make in my "TV Diary") continuing to tour; production managing, musical directing, tour managing, drumming, monitors engineering, keys-playing and bass-playing for artists such as Jack Garratt, Alex Vargas and Jagaara.
It's a few years later now, and I am immensely privileged to find myself one of the few chaps - maybe on the planet - who gets to juggle all of my absolute favourite things to do, and gets to earn a living from it. I seem to get the phone-calls when big & beautiful broadcast events begin to take shape, and when little music projects need a certain skillset.
With my extensively musical background; the breadth of my electronics, acoustics, systems and infrastructure knowledge formed in years of tinkering and having mentors who invested energy in me; and now with my trusted team of ladies and gents who I get to mentor and encourage in turn, I bring a joy and passion into every day of my work because I truly love every second of it.
