I’m Stefani Angelova, a Junior Audio Editor and Audio Engineer based in London. I have hands-on experience in audiobook post-production, including dialogue editing, mixing, audio cleanup, noise reduction, and sound design—always focused on clarity, consistency, and broadcast-quality results.
Alongside post-production work, I’ve built a strong foundation through studio recording and live sound engineering, supporting signal flow, microphone/mixer setup, and stage monitoring during performances. I enjoy collaborating remotely with clients and production teams, and I’m passionate about delivering high-quality audio for audiobooks, podcasts, film, music, and digital media.
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An unofficial creative reimagining of the soundtrack for A Clockwork Orange, developed as a music production and sound design exercise.
I created an original synth-based composition inspired by the atmosphere and visual identity of the film, exploring how electronic sound, synthesis and musical texture could provide an alternative interpretation of the scene.
This immersive 270° VR project was created collaboratively by a team of four music producers and five animators, exploring the impact of climate change through sound and visual storytelling.
I contributed to the development of the main creative concept, music production and sound design, performed and recorded parts on the Mellotron, and participated in the surround mixing of the final project.
The collaboration gave me hands-on experience in multidisciplinary teamwork, creative audio production and mixing sound for an immersive visual environment.
My contributions: Music Production · Sound Design · Mellotron Performance · Surround Mixing · Creative Concept Development
An original experimental electronic composition created primarily from field recordings captured and processed by me.
The project explores the transformation of everyday environmental sounds into musical and textural elements. I recorded the source material in different environments and then edited, cleaned, layered and processed the recordings to create the main sonic elements of the composition.
The production involved field recording, audio editing, creative processing, sound design, arrangement and mixing. Rather than relying primarily on conventional instruments, I used recorded sounds as the foundation of the track, experimenting with their texture, rhythm and tonal qualities.
This project reflects my interest in the relationship between sound design and music production and demonstrates my ability to take raw recorded material through the full creative process from recording and editing to a finished composition.
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