I enjoy the many aspects of working with sound and music for theatre, film and games, drawing on a wealth of experience recording, editing and mixing.
I began exploring sound design through local independent radio and events and soon became excited by its potential application in film and video games. Considering it an evolution of my earlier adventures in music, sound design broadened my scope of possibilities for working with audio, stimulating my brain in new and creatively-liberating ways.
I’ve since designed sound and composed music for a variety of theatre productions, as well as audio post-production for film—Foley, ADR, SFX. I also enjoy exploring game audio integration through middleware, such as Wwise. As a keen field recordist, I’ve an ever-expanding library of original sounds to use in my work.
I started out in music as a bass player and backing singer for a four-piece alternative band in the late ’90s, playing shows and recording music in and around Hertfordshire.
In those early years, I was introduced to my first Digital Audio Workstation (DAW), namely Cool Edit Pro—now Adobe Audition—and taught myself the ropes of digital home recording and mixing, using budget gear to capture my guitars and voice and combining them with midi instruments, effects and plugins. Little did I know then, I’d fallen down a rabbit hole from which I would never emerge! I’ve since adopted several software solutions into my repertoire (Cubase, Reason and Pro Tools, for instance), appreciating each for its particular workflow benefits depending on the task. These days, Reaper tends to be my DAW of choice.
In 2003, I joined Hitchin-based ska-punk septet Weightloss as their front-man and lyricist. We toured and released music DIY for almost a decade, releasing the album Our Thoughts Are Just Noise in 2007 after signing with an indie label based in London.
For most of the 2000s, I hustled as a local live sound engineer, and as a general stage and stall hand around the southern festival circuit, including Rhythms of The world, Glastonbury, Hyde Park, V-Fest and Silverstone F1. I also worked in customer service and IT support as a way to supplement my early career in music and sound.
By 2010, I’d been collaborating with the Rogue Collective in Hitchin for a few years. Bringing together local musicians, visual artists and photographers, we’d throw regular parties at Hitchin’s Club 85 music venue.
The Rogue Collective brought in bands and artists from around the country to headline these regular nights. I contributed theatrical sound design elements to support various themed events, such as Halloween, The Future is Broken, Rogue’s Victorian Ball, and the Rogue Masquerave. I also co-produced a podcast to promote Rogue nights, incorporating sound design elements in keeping with the theme of each event while showcasing interviews and local music.
Radio & Podcasts
By 2012, I would co-present a promotional radio show ahead of each coming Rogue event with cohorts Matt Turner and Matt Sanchez, showcasing acts with guests and recorded interviews on YOR Radio, a local youth-led digital radio station. Each radio show would subsequently release as a podcast. I also produced a promotional podcast in 2013 for a weekly live comedy event at Stevenage’s Cinnabar, in association with local comedian Mr Matt Smith.
After relocating in 2013, I continued to work as a live sound engineer as well as the wider festival circuit and began studying for a B.Sc. (Hons) in Sound Design at Staffordshire University. In so doing, I created the opportunity to take a deep dive into this burgeoning aspect of my career. Here I would revisit the fundamentals of sound, develop my abilities in game audio middleware, and explore sound and musical concepts for film, TV and games.
In 2015, I teamed up with student filmmakers, capturing and editing sound for several short films over the next two years, followed by my own no-budget short horror Slake, which I wrote, directed and edited after gratefully enlisting a small, passionate cast and crew.
When approaching the soundtrack for Slake, I decided to limit my creative parameters by way of using only found sound throughout, incorporating field recordings and sounds created from otherwise inanimate objects. This limitation also extended to the film’s score, where I transformed a chromed lampshade into a playable midi sampler instrument which formed the basis for the film’s musical cues.
Producing Slake enlightened me to the various disciplines required in the making of a film beyond sound, deepening my respect for the art and techniques of film production. Slake went on to be exhibited at GradEx 2018 where it won an award for music and sound design.
Since 2018, I’ve collaborated on a variety of professional theatre productions, including several with the Shooting Fish Theatre Company in Lincolnshire, as well as a touring production with The Birmingham Repertory Theatre. Ranging in genre, from science fiction and period thriller to contemporary drama and musical ‘gig’ theatre, each production was distinct in style and narrative theme, stimulating and challenging my creativity while leveraging the skills and experience I’d acquired over the previous years.
Post-Production & Games
My work in film has continued, having developed sound and music for a trailer, promotional video content for a local business, and, more recently, audio post-production for a short film being produced in Minneapolis. At the same time, I’ve continued honing my skills with the tools and techniques of game audio integration using the Fmod and Wwise middleware applications, exploring ways to create and manipulate interactive audio. I look forward to plying my trade in interactive media very soon. Gaming has been a lifelong pleasure of mine, so it seems only natural that my passion for sound would inevitibly collide with my favourite pastime.