Academy of Contemporary Music Music Production Course accreditation
University of South Wales Music Technology BSc 1st Class
University of West London Pro Tools 110 accreditation
Rockfield Studios Recording Masterclass
Berlin AKG Scholarship of Sound
As a sound engineer, I know that this aspect of music production is the most objective, but it's application is always marred by opinion. My education has reinforced what I know about the physical processes of recording, and - like any vocation - experience in session work has taught me what it means to use those skills in the constraints of time, equipment, space and, often, personality.
As a producer, I'm invested in the refinement and translation of ideas by any and all means available. As I'm writing this, this morning I was listening to Tinariwen - a Northern Mali soul rock band - and now I'm beaming in some 1996 Outkast - ATLiens; I'm charged up by new music, and genre is no longer the deal-breaker it was when I was 17.
This eclecticism has given me a confidence across the production of many genres, allowing me to make the class of record that the artist had in mind.
All's fair in love and record production.
My love for electronic music early in my discovery of music and taste left me with a knowledge gained by attempting recreation of what I was hearing on Kid A, Drukqs and Body Riddle [...]
I've always applied a little or a lot of what I know in electronic music production into whatever project is at hand, but primarily, my workability with synthesisers, MIDI trickery and sound design comes directly from that place.
My alias 'Freedom. & Such' has been the run-off of this process of discovery, which you can see HERE
Needs must in the studio, so I'm grateful for learning the piano when I was younger, picking up the guitar as I went full teenager. I've always found the solid ground of musical knowledge has been the broad shoulders on which I've stacked my knowledge of recording and production.
I've helped compose and performed on many of the records I've produced. Like any collaboration, the producer/engineer needs to be speaking the same language as the artist, even if that means learning a few extra phrases here and there.
Following Ben around the Peak District in the early morning hours, Ismar filmed the adventure and I scored the short that he created.
See and hear it here:
Commission piece for promotional short for independent cinema franchise Curzon - music composed with a clean crisp aesthetic to reflect the brand's growing, successfully simple approach to the modern cinema experience.
Thanks to Ismar for getting me involved - the man who also directed, shot and edited the piece.
Radio debut for my alias Freedom. and Such - electronic music project - on BBC Introducing. Thanks Melita Dennett for putting me on.
Hear it here:
Packed up my mobile rig for the trip down to the Brighton and the Unitarian Church for this session with Bella, working with a small crew to track 3 pieces.
The session was haunted by a ceaseless rattling from deep inside the old grand piano in the hall, which nearly sonically ground things to a halt... A team dig revealed a tiny shard of wood lodged beneath a string - it's now a permanent fixture of the studio as some voodoo blessing for future sessions.
Working with long-term collaborator Ismar Badzic, this concept work seeks to portray a city through it's sights and sounds. My role as location sound engineer and foley collector produced pieces based on the collected samples and our experience of the place, people and personality of the city.
Our first episode features Berlin.
Visit the project HERE.
Watch episode one, below:
Fulfilling a life-long dream of being shown on the Extreme Channel, this is an incredible profile short film from the mighty Ismar Badzic and producer Nick Perri. Following the fallout of Jake Cornish and his near-fatal encounter with an avalanche in the Swiss mountains.
Co-composing the score with Dominic Sewell, this was a really rewarding project, capped off with a public screening in the film's setting - Anzeres.
Watch the film HERE.
Below is a webisode for the film, for which I created the music and sound design:
Suffering for our art in Cardiff, Nanook was borne of something raw and powerful. Originally the band's drummer, I assisted in the recording and production of the record, mixing it in my studio. They've since taken off into the heady realms of London, where they're playing shows and recording new material.
Visit their site HERE.
Below is the video for Panda Eyes, a mix I didn't contribute to but you can hear me drumming and vocalising on the track:
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer
Engineer, Producer, Mixer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer, Performer
Engineer, Producer, Mixer
Composer, Mixer
Composer, Mixer
Composer, Mixer
Composer, Producer, Mixer
Engineer, Mixer
Engineer, Producer, Mixer
Get in touch if you have a recording project in mind - I'm entirely mobile, specialising in location recording with a fully mobile rig, as well as a fully-featured studio control room to return to and work the sounds into their final form.
