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Astronaut with Surreal Background

Tell your stories through sound.

First of all, well done for finding yourself here visiting my website! I hope you've enjoyed it so far. 

I'm a freelance sound designer for film and TV, documentary and commercials. 






  • Dialogue edit and conform

  • Extensive Sound Effects library

  • Backgrounds and atmospheres

  • Bespoke sound design (experimental, creature sounds)

  • Reconforming sessions

  • 360 Ambisonics sound design

  • Stereo and 5.1 mixes

  • Broadcast, Cinema or Online Streaming standards

  • Matching dialogue and ADR

  • Delivering Stems

  • M&E Creation

  • Experience in Localisation & Dubbing

  • Studio Voiceover recording

  • Remote recording via Source Connect

  • ADR Recording, Cues and sync

  • Foley recording

  • Location & field recording

Rock Formation

Here's a bit more about what sound design involves...


Every ​product must have crisp clear dialogue - with it usually being the most important part of storytelling, dialogue sits front and center in a mix and provides a baseline for other sonic elements. We don't want clicks, crackle, rustling and too much reverb to affect the intelligibility of the dialogue, and also to achieve a separation between dialogue and other useful sounds recorded in the rushes (production sound effects), so they can be manipulated separately.

Sound Effects

Sound effects encompass every sound you hear that isn't dialogue or music, this can range from bombastic gunfire to the quietest breeze, every element in the soundscape working together to create a world, be it familiar or unfamiliar. This can be a tool to create realism, to construct a believable world, a time and a place, be that 16th Century England or Tokyo in 2080, or the very opposite, to create a surreal, otherworldly experience, a subjective reality, like when you're so focused that all sounds drown out, or having a head-spinning psychedelic experience, it can all be sculpted with sound.

There are types of sound that we add specifically to highlight actions, some for practically reasons cannot be captured during a film shoot, and more commonly to create a slicker, more detailed-sounding world and have divisive impact in storytelling. We have foley, which famously is the art of recreating sounds with props and other items in sync to the picture, and on the other hand, spot effects and ambiences which can be recorded separately or sourced from sound libraries.


There are many things to consider during mixing - the final stage of the sound process. It it when everything comes together and hopefully melds together cohesively, and also where bold artistic choices can be made. 

Things to consider:

- Volume & Loudness: Which elements should we hear most at a certain moment? Especially when there is a lot going on, it's hard to balance it all, so what would you prioritise and has the most impact on storytelling? The mixer also considers whether sound effects and music is clouding the clarity of speech, and whether the overall loudness is within industry standards so that the consumer can listen to it with ease

- Placement: Where can you place a sound within its field, be that stereo or surround sound? Panning sounds to different positions can help create separation between the elements, have immense impact on conveying relative positions of sound sources in your story.

- Frequencies: Humans naturally react differently to different sound frequencies, like hair-raising high screeches, or foreboding low rumbles, frequencies can be manipulating through EQ and other tools.

- Effects: Does your story contain a telephone call or a tannoy announcement? Do your characters traverse through an echoey cave, or a parking garage? Many tools can be used during the mix to achieve these artistic effects.

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