The grand opening of Atlantis The Royal is a project that will always stand out to us. It was a truly spectacular event, watched around the world and attended by some of the biggest names in entertainment. Beyoncé performed as part of the launch, while Swedish House Mafia also took to the stage with a DJ set, making the occasion feel every bit as extraordinary as the hotel itself.

Audio Animals was responsible for mixing and mastering music used throughout the show, including material that had to work perfectly alongside the event’s huge fireworks display. The scale of the production meant there was absolutely no room for error. Every beat had to land exactly where it should so the music and pyrotechnics remained perfectly synchronised. The level of planning, precision and coordination behind the scenes was incredible to be part of.

What makes this project so memorable is not simply the scale of the event, but the experience of seeing so many hours of detailed work come together in one moment. Watching the final production unfold exactly as planned, with the music, performances and fireworks all working seamlessly together, made it one of those projects we will never forget.

Working on The Amazing Spider-Man 2 was the project that changed everything for Audio Animals. We had worked on smaller films before, but nothing on this scale. This was our first real step into the Hollywood big leagues, and it became the job that truly got the ball rolling for us.

A friend and long-standing client contacted us and said he needed help with the mixing and mastering for the film. At first, we genuinely struggled to believe it. There was no budget available, and the studio was effectively taking a chance on him. We had a difficult decision to make: do we take on the work for free in the hope that it might open doors in the future, or walk away from something that could become a huge opportunity?

We decided to take the chance, and it proved to be one of the most important decisions we ever made. Almost immediately afterwards, we went on to work on X-Men: Days of Future Past. From that point, the momentum built quickly. Once we had credits on films of that scale, the perception changed. If Audio Animals was trusted to work on Spider-Man and X-Men, then we were trusted to work on other major productions too.

To this day, we have lost count of exactly how many film projects we have been involved with, but it is easily in the thousands. Looking back, a huge part of Audio Animals’ growth can be traced back to this one opportunity. The Amazing Spider-Man 2 was more than just another project for us, it was the break that opened the door to Hollywood.

For Audio Animals co-founder Nick Burchall, working with Tottenham Hotspur was a particularly special project. As a lifelong Spurs fan, season ticket holder and regular at every home game, being asked to work on music that would be played inside the new Tottenham Hotspur Stadium was a genuine dream come true.

Hearing that music played through the stadium before kick-off, with tens of thousands of fans in the stands and the players preparing for the game, made the project feel even more meaningful. Seeing the atmosphere build and knowing Audio Animals had played a small part in creating that energy was an unforgettable moment for Nick and the team.

That relationship later led to us working directly with Harry Kane and his foundation. Harry has long been regarded as one of England’s greatest footballers and one of the best players in the world, so having the opportunity to work closely with him was incredibly exciting for us. Nick was also invited into the Tottenham hospitality boxes to watch games, which made the whole experience even more memorable.

For us, this project was about far more than just the work itself. It brought together music, football and a club that has been a huge part of Nick’s life, making it one of the most personal and rewarding projects Audio Animals has been involved with.

Look to the Light is by no means the biggest film Audio Animals has ever worked on, but it remains one of the most memorable because of how closely involved we were throughout the project.

Our role went far beyond simply receiving files and delivering a final mix. We were able to advise on how the audio should be recorded, how the files should be prepared and delivered, and how to achieve the best possible result from the material. That level of involvement made the project feel much more personal and collaborative from the very beginning.

It was also a significant milestone for us, as Look to the Light was the first film we mixed in Dolby Atmos. Hearing the finished film in Atmos at the premiere in Chiswick, meeting members of the cast, and hearing people speak so positively about how the film sounded was incredibly rewarding.

For us, this project stands out not because of its scale, but because of the journey. Being involved from an early stage, helping shape the audio process and then hearing the final result in the cinema made it an experience we will always remember.