About Me.
I work as a composer, producer, and audio engineer, developing music that sits between classical composition, electroacoustic practice, and contemporary electronic production. My recent work has focused on combining formal compositional techniques—harmony, orchestration, long-form structure—with modern studio processes, field recording, and bass-driven electronic music rooted in UK club culture.
​
Alongside composing, I produce and engineer records, working across recording, mixing, and sound design, with a particular interest in spatial audio, extended production techniques, and the relationship between musical intention and technology. Performance remains central to my practice: I am active as a CDJ and vinyl DJ, and my background also includes touring internationally with an orchestra and working as a television presenter, experiences that continue to shape how I think about audience, narrative, and sound in real spaces.
Profile
I’ve recently completed a Music Production Masters (Distinction) after graduating with First-Class Honours in Music, specialising in studio composition. Through this, I became fully literate across the entire production chain, from recording sessions and the understanding of recording environments, to mixing and mastering. I also have done extensive work on analogue systems such as SSL, Neve and the Avid S6, including some sessions mixed in Dolby Atmos. Alongside using the studios, I took part in upgrading rooms, installing equipment, and understanding the technological differences between products to optimise our studios. During my Masters research I became fascinated by psychoacoustics, spatial perception, and DSP processes, particularly in how they relate to future hardware and augmented hearing systems.
Beyond studio work, I also learnt to code VST’s and Plugins using SuperCollider, learning under the author of the language, Scott Wilson. In doing this I increased my capacity to code, as I had previous experience in Python, and engaged in the intricacies of wave functions and interactions. I believe this was the inception of my intrigue in music technology and sound as a science, where ripples of air pressure can be manipulated so finely.
Music Literacy
Freelance
2022-2026
Audio Engineering
-
I have engineered a wide range of sessions, from solo electronic artists to seven-piece jazz ensembles and full string and choral groups, giving me extensive hands-on experience recording, producing, and managing diverse performers and complex acoustic environments.
-
Utilised a 32-channel SSL desk with a 24x12 patch bay into a series of hardware (Distressors, Bricasti M7, 1176...) gaining analogue literacy, being able to understand and appreciate the nuances of recording technologies.
2022-2026
Mix and Master Engineering
-
Utilising the aforementioned desk I have learnt to mix and master over the last year, learning under Grammy award winning James Auwater.
-
Mixing and mastering on a desk and in the box - in Pro Tools and Logic Pro X - I learnt how to manipulate the intricate parts of music as sound. This has majorly informed the way I approach engineering, factoring the mix into decision making early on.
Music Technologist
2023
WeJam
-
Arranged and Composed popular songs, re-working many by ear to be used in a “Guitar hero” stye interactive game.
-
Used Max 8 and Python to create compatible files with the WeJam system.
-
Worked to compose scores that are now used educationally in schools for autistic children.
Assistant Audio Engineer
2023 - 2024
University of Birmingham
-
Set up the studio for both solo, and ensemble recordings, choosing the correct mics and deciding their placement and polar patterns.
-
Worked collaboratively with other performers and producers.
-
Used DAWs (mainly Reaper) for multitrack recording and editing and organising tracks in a multitude of genres.
Education
Music Production MA
Distinction
Institute of Contemporary Music Performance
-
My Final project was an investigation into Spotify’s algorithm, coding a data analysis program that allowed me to understand how Spotify’s algorithm promotes certain songs and marginalises others. Utilising this, I altered certain features in artist’s, and my own, music to become more ‘favoured’ by the algorithm for promotion.
-
Alongside this research, my Master’s was where I properly honed my production and engineering skills. Spending long hours in studios, I developed a hands-on workflow across recording, synthesis, mixing, and spatial audio, working fluently with analogue desks, outboard processing, and modern DAWs. Most of my current production approach comes directly from this period — experimenting, breaking things, refining techniques, and learning how small technical decisions translate into musical impact.
Music B:MUS
First Class (with Honours)
University of Birmingham
-
During my dissertation, I specialised in Studio Composition and spent two years working intensively across both recording and compositional studios, where I composed, recorded, and actively contributed to the maintenance and optimisation of the facilities. At the end of my second year, I played a key role in a major systems upgrade by recommending equipment and assisting in the installation and integration of the new gear.