Advertising Sound Business Asbjoern Andersen


Andy Greenberg is a 30+ year veteran in the television and film industry. His career has taken him from the East Coast to Southern California, and finally to Northern California, where he has worked in sound for the advertising industry for the last several years at One Union Recording in San Francisco. And in this interview by Doug Siebum, he discusses his approach to building client relationships in the advertising industry:
Written by Doug Siebum, photos courtesy of Siena Greenberg and Andy Greenberg
Please share:
Animal Hyperrealism IV Is Here!
 

DS: Hi Andy, thanks for agreeing to do an interview. Today I’d like to talk about the topic of clientele and building client relationships. Can you introduce yourself? How did you get your start in sound? How did you find your way into the advertising industry?

AG: I have been a musician for most of my life. I started recording bands in High School. Then went on to get a bachelor of science degree in sound, acoustics and system engineering. Music wasn’t paying the bills, so I moved into location sound recording for films and video. Then started working in a production facility. I was doing everything from field recording to editing and even graphics. When I moved to Los Angeles, I started the process again with location engineering, then found a large post facility that let me help build some edit suites and a few mix rooms. When the early versions of Protools came out, I was hooked. I started to mix long form videos and documentaries as well as some commercial spots. I really enjoyed the commercial spots because quality was a main focus. Long form is mostly about making bad production sound better. Commercial production allows me to capture the best quality audio and start from there. When I moved to San Francisco I started to work for One Union Recording where we do many different kinds of projects, but mostly commercial post work.
 

DS: How did you find your first clients?

AG: For most of my career, I was working in a facility that clients would come to. So, my clients would come to finish their work and I would be assigned to record or mix the job. The same thing happened when I moved to San Francisco. I was assigned clients in the beginning, then after I started working with the same folks, we developed a relationship and they would keep coming back.
 

Building a client relationship takes time and patience. The only thing you can do is always be professional and try to guide the session with a soft touch.

DS: Can you talk about building relationships with clients?

AG: Building a client relationship takes time and patience. The only thing you can do is always be professional and try to guide the session with a soft touch. Some clients know what they want from the beginning, others need to find their way as you work. I like to say “it’s all about the journey”. You have to learn to read the room and figure out the dynamics of who is driving the boat at the beginning of the session. If you can do that, you will have a great mix.
 

Communication is key. I need to ask questions, the client needs to ask questions, there has to be an open dialog at all times. Even after the session is over.

DS: How do you maintain those relationships once you have clients? Any tips?

AG: Communication is key. I need to ask questions, the client needs to ask questions, there has to be an open dialog at all times. Even after the session is over. If there is a mix change or re-edit, we have to be as flexible as possible to facilitate that change. If I can’t get to it right away, the client needs to know that. We do our best to make those kinds of experiences go as smoothly as possible.
 

[tweet_box]Andy Greenberg on building client relationships[/tweet_box]
DS: Who was your first really big client? How did you meet that client?

AG: I think my first really big client was the director Paul Hunter. Though I really didn’t know how big he was at the time. I had mixed the Biggie Smalls video Hypnotize, and a Mariah Carey video, and a Bobby Brown video. He liked working with me and we had done about 6 videos together before I moved up to San Francisco. He had come into the production facility in Los Angeles to do some editing and color correction and found out we had a sound department as well. We got along very well.
 

DS: Does the client already have a budget in mind? Or does One Union have a minimum rate card?

AG: The best part about my job is I don’t have to worry too much about the client’s budget. I am sure the client has a certain budget amount in mind. They will purchase the time they think it will take to complete the task at hand. One Union has a minimum amount of time we like to book, which is an hour. There are specific rates for the type of work we do. Radio, TV / Video, Surround and ATMOS all have set rates per hour.
 

DS: Do you have a marketing team to help you find new clients?

AG: We do not have a marketing team. We rely mostly on word of mouth and Google. Over the years we have worked with all the major Advertising Agencies as well as large productions studios. They know us and know we are always up to the task. Recently we have been added to the Dolby network, due to our addition of two Dolby ATMOS suites. This is starting to bring some clients into the facility.
 




We take sound pretty seriously here

DS: How does union vs. non-union affect which projects you can take on?

AG: As far as commercial work, it has no effect on our ability to do the work or not. When it comes to theatrical work, we can do the work, but in some cases, we just won’t get an official credit.
 

DS: How many of your clients go back to college or before? How far back do these relationships go?

AG: I went to school on the east coast, so none of the folks I worked with there, work out here.
I have been at One Union for almost 23 years now. I have some clients that have been with me from my start here.
 


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • Strident and Demonic

    Expand the timbre of your horror violins and cellos with CIRCUS, a sinister sample pack featuring 180 WAV sounds of screeching or high-pitched string noises, perfect for horror music and dark sound design.

    Creative Tension

    This collection offers a curated selection of screeches, high-tension tremolo, heavy jeté strokes, dark demonic textures, finger patterns, chaotic string elements, clock loops and bow accents.

    Haunting and Experimental

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  • ⏰ For a very limited time:
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    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

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    Animal Hyperrealism Vol III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.

    The sounds were recorded in zoos and wildlife centers. The asset list includes but is not limited to: european red deers, monkeys, reindeers, hornbills camels, crickets, tamarins, boars, frogs, red ruffed lemurs, parrots, and many more.

    The content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image.
    Part of the cheats section of the library features samples recorded at 384KHz. For these sounds an additional microphone was employed, specifically the CMPA by Avisoft-Bioacoustics which records up to 200 KHz. This microphone was used to record most of the library but the 384KHz format was preserved only where energy was found beyond 96KHz not to occupy unnecessary disk space.
    All files are delivered as stereo bounce of these for mics, though in some instances an additional couple of CO100K was added to the sides.
    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Animal Sound Effects Collections Animal Hyperrealism Vol I Play Track 290+ sounds included $180

    Animal Hyperrealism Vol I is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: african lions, bengal tigers, horses, donkeys, cows, exotic birds, owls, bobcats, pumas, dromedaries, wolves, dogs, geese, lemurs, gibbons and many more.

    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these four mics, though in some instances an additional couple of CO100K was added to the sides.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.

Latest releases:

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    We wanted more organic scratches in our library, so we decided to get to work and record a variety of objects such as

    Finger Nails
    Fake Finger Nails
    Metal Pipes
    Screws
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    and we scraped them against different surfaces

    Cladding
    Concrete
    Door Mat
    Laminate
    Plastic
    Wood
    Tile
    Various Fabrics

    Creating some organic Scratch and Scrapes, these can be left organic or you can redesign these sounds to create some Eerie, Scary, Horrorfull and down right Sinister scratch and scrape sounds which can be used across horror, thriller or suspense projects to create tension, impact and jump scares.

    Sinister Textures 5 will give you enough audio to give your project the authentic sound of Sinister Scratching and Scrapes, boosting your project to the next level. Sinister Textures 5 has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples.

  • Car Sound Effects Large Family Cars Play Track 2433 sounds included, 403 mins total $250

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  • Hybrid Game & UI Elements by Cinematic Sound Design delivers a versatile, high-impact sound effects library crafted to enhance your games, apps, interfaces, and multimedia projects. From satisfying button clicks and menu confirmations to dynamic game events and foley, this collection transforms every interaction into a polished, immersive experience. Inside this library, you’ll find over 250 hand-designed sounds, including UI feedback tones, notification pings, success and error alerts, interface swipes, menu transitions, foley hits, game triggers and more..

    Each sound is meticulously recorded, layered, and processed for clarity, punch, and adaptability across any platform or device. Whether you’re designing a mobile app, building a game interface, or producing interactive media, Hybrid Game & UI Elements ensures your project feels responsive, engaging, and professional. With carefully balanced dynamics and optimized mixes, this library provides the perfect blend of functionality and excitement, making every click, swipe, and in-game event satisfying and memorable. Elevate your UI interactions and game experiences with sounds designed to deliver precision, impact, and a touch of cinematic flair.

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    Inside, you’ll find an arsenal of meticulously designed audio ranging from thunderous booms, metallic crashes, and bone-rattling smashes to resonant sub drops, heavy stomps, and shattering debris. Each sound is crafted for clarity and impact, layering deep low-end power with crisp mid and high frequencies to ensure they cut through any mix while still delivering body-shaking presence.

    Whether you need to punctuate a cinematic reveal, emphasize a game boss encounter, or inject explosive energy into a trailer, Colossal Impacts provides versatile tools that adapt effortlessly to any genre. From dark and tense rumbling hits to sharp, aggressive slams, these sounds are designed to grip attention and elevate storytelling.

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    Inside, you’ll discover an eclectic range of professionally crafted effects: warm clicks, futuristic confirms, arcade-inspired coin wins, soft foley textures, mechanical switches, sparkles, zippers, and a lot more. Every file has been carefully mastered for balance and transparency, ensuring that whether you’re designing a mobile interface, building a game level, or editing motion graphics, the sounds will sit seamlessly in your mix.

    This library bridges functionality with creativity. You can emphasize success and progression with achievement tones, create tension with horror drones, or enrich user feedback with subtle tactile clicks and natural textures. Each sound is optimized to deliver instant recognition and emotional punch, from playful blops to majestic chimes.

    Give your projects a professional edge, captivate your audience, and transform ordinary interactions into memorable experiences with System & UI Feedback Elements.

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Need specific sound effects? Try a search below:


DS: Are the ad agencies that you work with specific to San Francisco?

AG: No, we work with agencies from all over the country. It’s about the producers or creatives and the actors location that brings the opportunity to us.
 

DS: Besides advertising, do you take on other projects?

AG: Yes, we do quite a bit of ADR for film and TV. We also do sound for large events for many of the Bay area’s tech companies. Sound for toys, web, phone systems and even short films and documentaries.
 




Sound Design is serious




Serious about Sound Design: Halloween Edition

How does One Union Recording keep up client relationships?

I think just as important as gear and engineering talent, is the relationship we have with our clients. First, client comfort and amenities are a big priority at One Union. From fast internet, fruit trays, snacks, drinks and comfortable chairs even libations at the end of the day, all these bases are covered. But second and even more critical is a personal relationship with all our clients. It starts with a warm welcome and continues to talking about life and family, even pets. Some of our clients have been with us for over 10, 15 even 20 years and that is because we care about them and their family and friends. We have seen kids grow up and go to college, and producers meet their future spouses and then have children. I even have a client whose daughter became a producer and I worked with her as well. Having your clients know you and trust you and feel comfortable in your studio is a guaranteed path to success.

DS: I think that’s about it. Any final thoughts?

AG: As far as client relationships go, sometimes it’s not about the quality of the job you are able to do, but more about your availability or even the clients physical location. People move around a lot, I always hope to see them again, but I am constantly meeting and working with new people and starting over with building new relationships.
 

A big thank you to Andy Greenberg for sharing some insight and experience with us, into building client relationships.

Check out Andy Greenberg on IMDb and at One Union Recording.

 

Please share this:


 


 


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• How to Craft a Perfect Cover Letter for Audio Industry Jobs
 
 
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Coping with a layoff - and how to bounce back:

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• Facebook Group: Survival Skills for Creatives
 
 
Education and knowledge:
 
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• Read the 100s of sound stories and guides on the A Sound Effect blog (search for stories here)

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• Discover 1000s of sound libraries from the independent sound community

• Take online courses in Wwise, FMOD Studio, Unity, Pure Data & Unreal at the School of Video Game Audio
 
 
Getting into independent sound effects:
 
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• How to create an indie sound bundle

• The quick-start guide to adding sound FX library metadata


 
 
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A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Strident and Demonic

    Expand the timbre of your horror violins and cellos with CIRCUS, a sinister sample pack featuring 180 WAV sounds of screeching or high-pitched string noises, perfect for horror music and dark sound design.

    Creative Tension

    This collection offers a curated selection of screeches, high-tension tremolo, heavy jeté strokes, dark demonic textures, finger patterns, chaotic string elements, clock loops and bow accents.

    Haunting and Experimental

    Create haunting atmospheres, perfect for horror, thriller or experimental soundtracks. Every element has been designed to unsettle and disturb, blurring the line between music and noise.

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Animal Sound Effects Collections Animal Hyperrealism Vol I Play Track 290+ sounds included $180

    Animal Hyperrealism Vol I is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1300 individual sounds in 290 files.

    The sounds were partly recorded with animals trained for media production, partly recorded in zoos and wildlife centers. The asset list includes but is not limited to: african lions, bengal tigers, horses, donkeys, cows, exotic birds, owls, bobcats, pumas, dromedaries, wolves, dogs, geese, lemurs, gibbons and many more.

    All the content has been recorded at 192KHz with a Sanken CO100K plus a Sennheiser 8050 for center image and a couple of Sennheiser MKH8040 for stereo image. All files are delivered as stereo bounce of these four mics, though in some instances an additional couple of CO100K was added to the sides.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Horror Sound Effects Sinister Textures 5 Play Track 300 sounds included, 5 mins total $20

    We follow up vol 1-4 with the 5th instalment of the Sinister Series

    We wanted more organic scratches in our library, so we decided to get to work and record a variety of objects such as

    Finger Nails
    Fake Finger Nails
    Metal Pipes
    Screws
    Coins

    and we scraped them against different surfaces

    Cladding
    Concrete
    Door Mat
    Laminate
    Plastic
    Wood
    Tile
    Various Fabrics

    Creating some organic Scratch and Scrapes, these can be left organic or you can redesign these sounds to create some Eerie, Scary, Horrorfull and down right Sinister scratch and scrape sounds which can be used across horror, thriller or suspense projects to create tension, impact and jump scares.

    Sinister Textures 5 will give you enough audio to give your project the authentic sound of Sinister Scratching and Scrapes, boosting your project to the next level. Sinister Textures 5 has been edited to allow a drop in ready and Royalty Free sample pack. These Samples can be used in a variety of projects from Sound Designing/Compositions for TV, Film, Documentaries and Video Games. UCS Compliant and Metadata is attached to the samples.

  • Car Sound Effects Large Family Cars Play Track 2433 sounds included, 403 mins total $250

    Compilation of 10 different large family cars. Sounds are recorded 192kHz, 32bit with RØDE NTG1, RØDELink Lav, Line Audio Omni1, Shure KSM137, Shure VP88, Sonorous Objects SO.3, FEL Pluggy XLR EM272 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II and Zoom F3 recorders. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds.

  • Hybrid Game & UI Elements by Cinematic Sound Design delivers a versatile, high-impact sound effects library crafted to enhance your games, apps, interfaces, and multimedia projects. From satisfying button clicks and menu confirmations to dynamic game events and foley, this collection transforms every interaction into a polished, immersive experience. Inside this library, you’ll find over 250 hand-designed sounds, including UI feedback tones, notification pings, success and error alerts, interface swipes, menu transitions, foley hits, game triggers and more..

    Each sound is meticulously recorded, layered, and processed for clarity, punch, and adaptability across any platform or device. Whether you’re designing a mobile app, building a game interface, or producing interactive media, Hybrid Game & UI Elements ensures your project feels responsive, engaging, and professional. With carefully balanced dynamics and optimized mixes, this library provides the perfect blend of functionality and excitement, making every click, swipe, and in-game event satisfying and memorable. Elevate your UI interactions and game experiences with sounds designed to deliver precision, impact, and a touch of cinematic flair.

    20 %
    OFF
  • “Colossal Impacts” is a powerhouse sound library built to deliver crushing force and cinematic weight to your projects. Designed for trailers, games, film, and any production demanding larger-than-life energy, this collection brings the raw intensity of massive strikes, explosive hits, and earth-shaking slams right to your sound palette.

    Inside, you’ll find an arsenal of meticulously designed audio ranging from thunderous booms, metallic crashes, and bone-rattling smashes to resonant sub drops, heavy stomps, and shattering debris. Each sound is crafted for clarity and impact, layering deep low-end power with crisp mid and high frequencies to ensure they cut through any mix while still delivering body-shaking presence.

    Whether you need to punctuate a cinematic reveal, emphasize a game boss encounter, or inject explosive energy into a trailer, Colossal Impacts provides versatile tools that adapt effortlessly to any genre. From dark and tense rumbling hits to sharp, aggressive slams, these sounds are designed to grip attention and elevate storytelling.

    Product Details:

    • 103 Designed Cinematic Impacts
    • 100% Royalty-Free
    • 24-Bit/96kHz

    23 %
    OFF
  • “System & UI Feedback Elements” is a massive sound library packed with over 200 dynamic audio elements designed to give life, energy, and clarity to your projects. From polished notification dings, confetti bursts, celebratory rewards and more, this versatile collection covers a wide spectrum of sounds perfectly suited for apps, games, websites, and multimedia productions.

    Inside, you’ll discover an eclectic range of professionally crafted effects: warm clicks, futuristic confirms, arcade-inspired coin wins, soft foley textures, mechanical switches, sparkles, zippers, and a lot more. Every file has been carefully mastered for balance and transparency, ensuring that whether you’re designing a mobile interface, building a game level, or editing motion graphics, the sounds will sit seamlessly in your mix.

    This library bridges functionality with creativity. You can emphasize success and progression with achievement tones, create tension with horror drones, or enrich user feedback with subtle tactile clicks and natural textures. Each sound is optimized to deliver instant recognition and emotional punch, from playful blops to majestic chimes.

    Give your projects a professional edge, captivate your audience, and transform ordinary interactions into memorable experiences with System & UI Feedback Elements.

    Product Details:

    • 229 Interface Sounds
    • 100% Royalty-Free
    • 24-Bit/96kHz

    17 %
    OFF

   

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