Ryder Cup Titles 2025

Nothing in golf can match the Ryder Cup for edge-of-your-seat emotion and intensity. This biennial, intercontinental battle of the fairways between Europe and the USA pits the best of both continents against each other in a three day, nerve-shredding test of character and skill. Other tournaments have their green jackets, claret jugs and any number of trophies, but nothing beats lifting Samuel Ryder's delicate but iconic cup alongside your team mates and in front of a legion of adoring fans. 

Capturing the intensity of the competition and summarising the spirit of the occasion is the job of Sky Creative's team as they build a title sequence which must encompass all of that and more. And they in turn rely on us in Sky Post Production to support their endeavours by providing a soundtrack that stirs the senses and heightens emotions before the first ball of the day is even struck.

Re-recording Mixer Tom Nursey was given the honour of bringing the noise for the Ryder Cup Titles 2025, and we sat down with him to talk through the process. Spoiler alert...may include hummingbirds and waterwheels.

Tom Nursey - Re-recording Mixer

What was the brief for this project?

When we first sat down to discuss the brief, the main audio goals were clear: highlight the “evolution” of the leaderboard, make sure the remixed Ryder Cup theme was front and centre, and integrate the famous “thunderclap”.

Visually, the leaderboard transforms from an old-school wooden board to a sleek, modern metal design. My job was to further emphasise that journey in the audio. So, each shot of the revolving board needed its own “era” of sound - from creaky wood to futuristic metal, and everything in between.

The remixed Ryder Cup theme is kept nice and loud throughout - almost stealing the show from the SFX and comms - and is integrated together with the iconic Ryder Cup “thunderclap.” I made sure the thunderclap lined up with the first slo-mo shot and remained timed to the music.

Did you enjoy working on this promo?

Absolutely. I had a blast working on these titles. It’s always fun to get creative with sound design, not just matching what’s on screen, but asking, “What would this actually sound like if I was standing right there?” That led to some interesting combinations of sounds - waterwheels, hummingbirds, creaky floorboards, and even a car engine all made appearances in some of the leaderboard SFX.

What were the challenges?

The biggest challenge was starting with almost no reference point. There’s no VO or dialogue to guide the story at first - the comms are layered in later, more as an effect than a narrative driver. So, building a natural flow and evolution for the titles was key. Thankfully, the team’s brief was fantastic, which meant I could quickly throw together some rough ideas and start building things up, sending these through as rough mixes for feedback. 

How much time did you have on the project?

I had about three days to finalise the audio for these titles, which was plenty. It gave us time to collaborate on ideas and direction and allowed the graphics and audio to evolve together. Plus, it meant I could create all the versions we needed: the full 60s, a 30s cutdown, and a 5s bumper.