Projects
check out a curated portfolio showcasing a diverse range of projects, highlighting versatility, technical skill, and a consistent commitment to high quality
BINAURAL MIX - LOADING BAY SKATEPARK
This unique soundscape of Loading Bay Indoor Skatepark was recorded using an ambisonic microphone, the Zoom H3-VR handy microphone. The intention behind the project was to immerse the listener within a three dimensional sonic environment, highlighting the movement, presence, and atmosphere of the skatepark in a way that traditional stereo recording cannot achieve. The project is rendered into a binaural format, allowing the listener to experience the space as if they were physically present. Make sure to wear headphones for the full experience
5.1 RECORDING - FLORIS DE LIS BY INÉS CAMERON
The recording involved capturing the acoustic character of Coats Paisley through a 5.1 spatial recording, using a Fukada Tree microphone setup to achieve a detailed and immersive surround sound image. The technique allowed for precise placement of sound within the space, preserving both the depth and width of the environment while maintaining clarity across. The aim of the project was to explore how spatial recording methods can enhance the listener’s perception of architecture and atmosphere, creating a more engaging and realistic listening experience
ACOUSTIC RECORDING AND MIXING - LEARN TO FLY cover BY JACK HAYES
The acoustic track was recorded with a focus on keeping the acoustic sound warm and natural while still adding some creative touches. A close mic was used to capture the detail of the guitar, along with a room mic to bring in a sense of space and depth. Delay and reverb were added to create atmosphere, enhancing the overall cohesion of the track. EQ was applied to clean up muddiness, and gentle compression was used to even out the dynamics without making the track sound over processed. The result is a clean, natural sounding acoustic track with some added character
MASTERING - SAMARI BY UNKNOWN ARTIST
The mastering of this track was carried out in WaveLab, and a careful, gradual approach was used to keep the energy of the track intact while still giving it a polished finish. Light EQ adjustments were made to tighten the sub-bass, smooth out any harsh highs, and improve overall clarity. Gentle multiband compression was applied to control the different frequency ranges more precisely, helping the kick and bass stay powerful but balanced. Subtle saturation was added to give the track extra warmth and glue, making the elements feel more cohesive
MIXING - NOVA BY CHERRY TOPPING
"Nova", was created as part of a project focused on exploring the possibilities of game audio. The aim was to create with a range of recorded elements and MIDI, and transform them into a cohesive piece that fits within the gaming genre. The process involved trying out different textures, rhythms, and effects to see what worked best, especially in creating atmosphere and considering how the track would function within a game, aiming to complement the mood and pacing of gameplay.
SOUND DESIGN - PURSE PODAST BY CHERRY tOPPING
This short intro track was created for a podcast centred around the theme of pursuing dreams and striving for self improvement. This piece was developed as an inspirational foundation to reflect the podcast’s message of pushing forward. To support this idea, powerful spoken word samples were carefully created and woven into the composition, helping to create a motivational and uplifting tone. These vocal elements were layered over a dynamic musical bed to build energy and emotional impact, gradually developing into a more powerful and engaging atmosphere
FOLEY AND SOUND DESIGN - GAME TRAILER
The audio for the video game trailer "Prey " was recreated for this project. Foley was recorded to match and recreate key actions, such as movement and impacts, ensuring everything felt realistic and synced with the onscreen motion. These recordings were then layered with additional sound design elements to build atmosphere and intensity throughout the trailer. The project was also designed as a spatial audio experience, meaning sound placement and movement were carefully considered to create a more three dimensional feel, which is best experienced through headphones for full effect