I’m an audio producer and sound engineer specializing in mixing, podcast production, and sound design. I work with Pro Tools, Audition, and Ableton Live to craft vocal performances, edit dialogue, and design immersive soundscapes for games, audiobooks, and narrative media. With over 1,000 hours of vocal production and more than 580 completed mixes, I bring technical discipline and creative problem-solving to fast-paced studio environments.
I excel at synchronising dialogue to picture, layering atmosphere with music, and recording Foley. My background spans research, client management, and project coordination, giving me strong attention to detail, reliable collaboration, and the ability to scale workflows using task boards, automation, and asset management.
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LiveTake is a project led by London-based actor and musician Edward Watchman for creating actor-musician performance showcases. For me, community is at the heart of the project; Ed pulled together an ensemble that felt immediately welcoming. Each musician’s strengths had a place in the arrangement and performance of the music. I joined as the recording and mixing engineer, aiming to capture that “in the room” feeling of watching a live band, while giving each song fullness and bringing the vocals to the forefront of the mix.
The film above features the piano and vocals of Rosie Weston, who arranged this gorgeous cover of Arctic Monkeys’ “Do I Wanna Know?” Rosie is an incredibly talented vocalist, pianist, dancer, actor, and composer who joined LiveTake as musical director. I love how she reimagines this dark, brooding rock song into a lush, elegant performance packed with clever reharmonisations of the original.
Joining Rosie are Eddy Watchman on bass, Clara Coslett and Miriam Aspden on violin and backing vocals, and Jack Ward on saxophone and backing vocals. Throughout the day, each musician took the spotlight for their song of choice. The rest of the ensemble rotated between various instruments.
The level of musicianship deeply inspired me as a musician, while the constantly shifting ensemble posed several technical challenges that encouraged me to think on my feet as a recording engineer. It was a valuable lesson in managing audio bleed and creating as wide a soundscape as possible with minimal microphones.
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