Whilst at University, I developed a keen interest in Analogue Reverb Units. I built two of these as projects during my time there - a compact Plate Reverb, and a Tube Reverb Unit, both of my own design. Through these projects I learnt a lot about Reverb and room acoustics. I still have a keen interest in analogue reverb today, and I hope to employ these units—or variations of them—in my 'Mix Suite' once it's completed.

I also have a love for vintage microphones and other equipment such as effects processors and tape machines. I've done various test recordings using old microphones and recording straight to tape. It's a less technical method, but is much more organic, and this shifts the focus back to the performance of the recorded material and away from the technology that I feel sometimes limits us as engineers. 

My personal collection of vintage audio equipment includes a range of microphones from the 1920s to the 1970s, of which I have varying types such as ribbon, moving coil, crystal, and other dynamic mics. These are very characterful and unique, and I still employ them in my recordings today. The ribbon microphones have been present on many location and concert recordings in recent years. They continue to impress me. 

My future investments will be in vintage pre-amps and processing to help me achieve the distinctive vintage tone that I find so characterful and pleasing.

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My interest in music and sound started in my mid teens.

Education

I studied at Donut Creative Arts Studios and gained an NVQ Level 2 in Sound Engineering.

After college, I studied at Confetti Studios in Nottingham and topped up my degree at DeMontfort University, Leicester. I achieved a 2:1 BSc.

Experience

My career began with local PA Hire companies, working on local events, small festivals, and short tours throughout the UK. These include Made In Brum and the 60's Gold Tour (FOH Engineer). Through these companies I found myself working for various crewing agencies and often working at large corporate and live events in surrounding cities, such as Sheffield and Nottingham, and even large Arenas for High Profile Acts.

From this, I gained a position at the Local Theatre and Concert venue in Chesterfield, where I worked on various sizes of productions for around 5 years. 

Recently, I have toured the UK, USA, Canada, and Russia as the Monitor Engineer for Cradle of Filth. I have also worked larger festivals and tours such as 'Rebellion' and 'UB40' UK tour as the on stage patch technician.

My interest and work in location recording has risen, and since leaving my employment at the local theatre, my intent is to push my own Sound Engineering career as A.S.E

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