01
Vrrrt.
Tak-tak-tak.
IKEA · Spec
Too Easy
IKEA furniture assembles so easily that one man has to fake the hard work, performing every tool sound with his voice.
Four commercial concepts Working title
Commercial sound, more human than you can imagine.
Rudi Rok, voice
Sauvage Sound Studios, Amsterdam
Every soundtrack on this platform is performed by one human voice: every engine, tick, crowd and door. It gives a film a pulse audiences feel before they can explain it, and it turns the making-of into a story of its own. Performed by Rudi Rok, the voice behind the Fiat 500e engine sound and Mountain Dew’s Cannes Lions–winning “Play The Dew”. Produced with Sauvage Sound Studios, the Amsterdam film-sound house behind Wolf, De Oost, Mocro Maffia and Netflix’s iHostage. Nobody has owned this craft since 2006, when Honda’s “Choir” took Gold at Cannes. The first brand in owns it.
IKEA furniture assembles so easily that one man has to fake the hard work, performing every tool sound with his voice.
Coffee downstairs. Serious construction upstairs: drill, hammer, ratchet, then one tool past plausible. The wife nods, proud.
The truth: the wardrobe clicked together in seconds. So he stays up there, performing the labour with his voice, hands conducting an invisible toolkit.
Spotless and dry, he detours to the bathroom and splashes water on his face. Now he has earned his coffee.
The friend leans in: “Could he do our bedroom too?” Freeze on his face.
A macro film about a hand-built watch, with a hand-built soundtrack. Every tick, click and breath of the movement performed by the human voice.
Black void. Extreme macro. One perfect tick becomes a pulse.
The movement wakes: gears, escapement, jewels. Each part enters with its own voice-made sound. The watch becomes a percussion section.
Crown winds, bezel counts its clicks, the clasp snaps once. The composition resolves into a single beat: a human heartbeat.
Case film: split screen. Watch on the left, performer on the right, sound for sound.
Ordinary life, sounding slightly too good. Then the camera drifts, and a beatboxer has been standing there the whole time, making every sound.
Something utterly everyday: a can opens, butter hits crispbread, an automatic door glides. Shot straight.
The sounds are a touch too rich. The fizz too tall, the crunch too deep. The audience feels it before they can name it.
The camera pans half a metre. A man with a mic has been there all along. Eye contact. A small nod. He keeps going.
He shows up wherever the brand’s product makes its sound. Episode after episode, a character the brand keeps.
A cinematic epic that sounds enormous: storms, engines, cities, stadiums. Then the truth: everything you just heard came out of one human.
Dawn. Wind over water, distant thunder. The world breathes.
The storm lands: waves, cracking ice, an engine tearing through rain. Trailer-scale, wall to wall.
A city wakes: trams, crowds, machines, a stadium roaring in the distance.
Hard cut to black. One line. Then the performance montage: one man at a mic, sound for sound.
The finished 60-second audio film ships before a frame is shot. One studio day. Pitch demo, radio version and proof of craft in one.
The idea on camera, and the invisible craft underneath. All voice, mixed to feature-film standard, unnoticed until the case film.
Every concept carries its own making-of reveal. The film entertains, the case film wins the industry. Two audiences, one shoot.
Take a concept. Or bring us a brand.
The Fiat 500e engine sound, built from voice alone. Mountain Dew “Play The Dew” — Cannes Lions, LIA Gold, Adfest. Voice work for Disney, Amazon Japan, Rovio & Paramount.
rudirok@rudirok.com rudirok.comCo-founder, Sauvage Sound Studios, Amsterdam — feature-film sound & music on Wolf, De Oost, Mocro Maffia and Netflix’s iHostage.
info@sauvagesoundstudios.com sauvagesoundstudios.comSpec concepts. Not commissioned by or affiliated with IKEA or Rolex. © 2026 Rudi Rok & Sauvage Sound Studios.