Composition

Experience and Familiarity:

 

I am proficient in using a vast number of computer software to achieve my desired sounds, and do not shy away from learning new methods of sound design and composition. As well as working with countless plugins and multiple DAWs, I design my own audio tools when necessary, and am always exploring a number of non-linear recording techniques in order to achieve in detail an exciting and original sound for every new demand. This approach has led me to attain skill sets and experience with hardware, software, protocols and workflows that improve my proficiency and productivity in producing good music. These include:

 

  • Analogue and digital studio consoles, such as Audient and Neve.
  • Mobile mixing desks for off-site performances
  • Audio processing gear, using outboard hardware and in-the-box software.
  • Preparing methodologies for the most efficient ways to load, transport and set up equipment between studios, rehearsal spaces and venues
  • Programming languages such as Processing, Max/MSP and Pure Data
  • Multiple DAWs such as Logic, Pro Tools and Ableton.
  • Designing and building interactive music technology installations

 

Composition and Production

Throughout my Bachelors and Masters degrees, I have seized every opportunity in both commercial and academic environments to produce the most imaginative, original and convincing experiences in sound. These compositions include but are not limited to the following types of compositional approaches and styles:

 

Popular music – Exhibiting lively, catchy, and energetic elements

Electronic dance music – Mainstream and Underground

Sample-based music – Combining very short samples from multiple sources to create new music

Algorithmic music – Developing rule-based, generative compositions through programming

Avant-garde music – Using experimental techniques and ideas to achieve original sound works

Works for moving picture – working closely to a director’s brief

Video game music – working closely to a director’s brief, considering interactive elements

Large scale works – Music spanning ~ 20 minutes, considering large-scale structural requirements

Orchestral music – Scoring for both orchestral performance recordings and sampled orchestras