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specialist broadcast audio services for
music, live events, and light entertainment
TooLoudEnough is the silly name I use to encompass the various audio services provided by me, and the assorted gangs of go-to champs that I might assemble on your behalf for each production or project.
Between us, we plan, facilitate, and deliver audio solutions for pretty much anything that involves music, cameras, or a nice bunch of people.
Whether that means shiny-floor studio telly, live-to-cinema stadium shows, music festivals, theatrical productions, stand-up comedy, intimate live-sessions, or something else; if you need it to sound great, you're in the right place.
Wht We Do

That's me over there, look. Hi! I'm Oliver Waton, the chap at the centre of this silliness.

I've been lucky enough to make my living as an audio engineer and musician since I began having to work.
Starting out on drums and percussion aged six, playing for big bands, concert bands, orchestras from the age of eleven, and even heading out on my first international music tour as a solo percussionist / xylophonist at the age of fifteen, music was in every day of my upbringing!

Having fiddled for months on end with mixers and microphones in the various school productions, at sixteen I began working as a general 'tech' in my hometown theatres . Quickly, I was able to specialise in audio, and found myself mixing FOH for sellout shows and pantomime runs before I had even left school. All the while continuing to play drums around the world with a premium function band whenever the opportunity arose.

Oliver Waton

At eighteen, despite the draw of offers to tour as a theatrical audio engineer, I moved to Guildford and began the Tonmeister Programme at the University of Surrey. I continued to work in London as a drummer to up-and-coming artists around lectures and coursework, and produced music in collaboration with the pool of incredibly talented musicians on the same course. Declining the normal third-year placement, I proceeded directly to final year, and continued my session work on the side, touring the UK and Europe as a drummer and Musical Director on various pop gigs and festival stints. When I wasn't touring, I'd spend every free hour fixing album recordings for artists I'd reached out to, even producing full orchestral sessions for Musical Theatre records and live one-shot films special "Live Sessions".


When graduation came around, and I no longer received Student Loans that I could fritter-away on drums and microphones, I really needed to go and get a 'proper' job. Thankfully, an opportunity arose to join the audio crew for NEP UK (Roll to Record at the time) on Big Brother where, training under Pete Vasey, I dove head-first into broadcast audio systems and supervising; an incredibly niche skillset that has become so integral to my work in the years since.

Between 2011 and 2018 I was incredibly fortunate to be in an enviable freelance position that allowed me to work my way up the ranks, guaranteeing and supervising international television projects such as Love Island, Big Brother, the Ibiza Weekender, UFC, Six Nations Rugby, the Queen's Birthday celebrations, and much more. And because it was freelance, in the Summers I could continue to tour with music acts around world; production managing, musical directing, tour managing, drumming, monitors engineering, keys-playing and bass-playing for artists such as Jack Garratt, Alex Vargas, Jagaara, and more.

I'm now privileged to be one of the few chaps probably on the planet who get to juggle all my absolute favourite things to do, and earn a living from it. I seem to get the phone-calls when big or beautiful broadcast events begin to take shape, and when little music projects need a certain skillset.

With my extensive musical background; the breadth of my electronics, acoustics, systems and infrastructure knowledge; and now with my trusted ladies and gents in their critical roles on all my jobs, I do my best to make audio the least stressful, but most cared-about department in your production.

Wh am I?
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