Tone Aston​ talks the psychology of sound

Tone Aston, Partner and Creative Director at Rumble Studios, has worked in sound design for 25 years, and set up Rumble Studios a decade ago, and this year – for the fourth year in a row – he and Rumble bagged the Music and Sound Company of the Year at shots’ APAC Awards 2024. 

“It’s an incredible honour,” he says, “and a testament to the hard work, creativity and passion our team pours into every project. For Rumble, it solidifies our reputation as a leading music and sound studio – not just in Australia but across the APAC region.”  

They’ve been making waves in the business for a long time – and Aston has seen a lot of changes in the world of sound design since Rumble opened its doors in the inner-city district of Chippendale in Sydney. “Scoring and sound design have undergone significant transformation in so many ways,” he says. “There’s the fusion of music and sound design. Today, sound designers and composers collaborate more closely to create unified sonic experiences. Musical elements might incorporate sound design textures, while scores integrate ambient or natural sounds to heighten emotional impact.  

Scoring and sound design have undergone significant transformation.

“Then there’s the rise of sonic branding, with brands investing in custom mnemonics, theme music and soundscapes that evoke emotion and enhance recall. This trend underscores the growing understanding of sound as a powerful tool for shaping perception. And the past 10 years have seen a wave of innovation in digital audio workstations, virtual instruments and sound libraries.” 

 With such an interest in sound-psychology, we wanted to dig deeper into Aston’s aural musings around how the use of sound is becoming ever-more strategic. 

Since founding Rumble, how have you seen the role of sound evolve in shaping audience perception and emotional connection? 

I think sound has become more intentional. When we started Rumble, there was already an appreciation for great sound and its emotional impact, but now brands and filmmakers are recognising its role as a strategic tool, understanding the psychology of sound. With the rise of immersive media — spatial audio, ASMR — the expectation for emotionally engaging sound has only grown. 

Sound has become more intentional.

We’ve worked on projects where sonic branding isn’t just an afterthought but a key part of a brand’s identity. Whether it’s the way a product ‘sounds’ when you interact with it, or how a commercial’s score subconsciously guides emotional responses, sound has moved from the background to being a key part of audience perception. 

What psychological principles influence current trends in sound design and music scoring for TV, film and advertising? 

For me, one of the biggest psychological drivers in sound today is sensory branding — where brands create signature sounds that trigger an emotional response and recall. Then there’s the science of psychoacoustics; for example, the way lower frequencies create a sense of power and urgency, or how subtle shifts in harmony can evoke nostalgia or tension. Most people are already familiar with neuroscience-backed music composition, where tempo can create relaxation or excitement, while tone can create happiness or heartfelt attachment. 

How does sound influence consumer behaviour and brand perception in the Australian and APAC creative landscape?  

In Australia and APAC, brands are using sound more strategically than ever. Sonic branding is no longer just for global giants; we’re seeing local brands invest in custom sonic identities that resonate with their audience’s cultural and emotional landscape. 

Sonic branding is no longer just for global giants.

One example is our work with BMF for Voyages Tourism, where we crafted a sound identity in collaboration with the Irawee Indigenous Choir. 

What are the key psychological strategies behind defining a brand’s sonic identity, and how do you create sounds that resonate deeply with audiences? 

Well, I believe a brand’s sonic identity should trigger an instant recognition and evoke the right emotional response. At Rumble, we take a psychological approach to sound branding, considering not just what a brand should ‘sound like’ but how it should make people feel. 

Which pieces of sound design and music from outside of Rumble have stood out to you this year in terms of their psychological impact?  

Channel 4 Paralympic Games Considering What? (Directed by Steve Rogers. Sound by Factory UK) This piece is a masterclass in rhythmic storytelling. The way sound is used to build intensity — through precisely chosen sonic textures and percussive elements — creating a deep psychological pull. It mirrors the athletes’ journey, making the audience feel the determination, struggle, and triumph on a visceral level. 

Riyadh Season’s Rumble (Directed by Seb Edwards. Sound by 750mph) This is a great example of how sound design can blend seamlessly with music to create a heightened sensory experience. The mix is beautifully sculpted, allowing the sound design to enhance the emotional energy of the track rather than compete with it. The emotional effect is effortless immersion — pulling the audience into a world where sound reinforces movement, grandeur and awe. 

Our goal has always been to create sound that connects, moves and stays with audiences long after they’ve heard it.

The Zone of Interest (2024 Academy Award Winner for Best Sound) This film’s approach to sound is psychological storytelling at its most unsettling. By stripping back the soundscape to an almost minimalistic level, it forces the audience to engage in an unnerving way. The contrast between what is heard and what is left unsaid creates a deep emotional disturbance. 

This is a perfect example of how sound can dictate perspective, building tension not through what we expect to hear, but through the absence of it.