Portfolio Overview
This portfolio showcases a range of original sound design, composition, and post-production projects exploring cinematic sound, spatial audio, and experimental music techniques. The work spans orchestral scoring, binaural mixing, surround sound production, and electro-acoustic soundscape design, reflecting a strong focus on immersive audio experiences and storytelling through sound.
Projects such as Avengers SFX + Composition Surround Master demonstrate large-scale post-production workflows, including rebuilding full cinematic soundtracks with dialogue, sound effects, and music for surround playback environments. Meanwhile, compositions like Electric Flare, Romance, and Oedipus Rex Theme explore melodic structure, atmosphere, and emotional scoring for narrative-driven content.
Experimental and spatial audio work features prominently across projects such as Machine Takeover – Binaural Mix, Time – Binaural Mix, and Synthesised Warscape, which focus on headphone-based 3D audio techniques, layered sound design, and immersive environmental soundscapes. These projects highlight an interest in how sound placement and movement can shape listener perception.
Electro-acoustic and remix projects, including Ambient Remix of Waterduct and Electroacoustic Remix of Waterduct, showcase creative manipulation of source material, transforming acoustic recordings into evolving textures and atmospheric compositions. Together, this body of work reflects a balance between technical precision, creative experimentation, and cinematic storytelling.
The Avengers — Full Audio Post-Production Showcase
This portfolio piece is a full audio reimagining of a clip from The Avengers (2012), created as part of a professional sound design assignment. Sound elements were rebuilt from the ground up, including sound effects, dialogue, and music. Sound effects were designed using synthesis techniques in Logic Pro X and recorded on location using a Zoom field recorder, alongside studio-based work carried out in an SSL-equipped professional recording environment. Dialogue was recorded and mixed in a Hamisaki Square surround sound format to accurately position voices within the cinematic space.
The original score was replaced with a fully custom composition, written using the EastWest MIDI orchestral library to achieve a realistic, film-style orchestral sound. The final result demonstrates end-to-end audio post-production, combining technical precision with creative storytelling through sound.
Electric Flare — Sculpting Sound From Silence
This piece was developed from a silent animated clip provided as part of a sound design assignment. All music, dialogue, and sound effects were created from original recorded material, captured using a Zoom recorder and within a professional SSL recording studio environment. These elements were then edited and synchronized to complement the animation.
The sound effects were mixed dynamically to track the movement of the “electric flare” across the screen, while the music and dialogue were kept more spatially static to ensure the primary focus remained on the effects. This assignment gave me the opportunity to explore sound design in a context without predefined sonic expectations, allowing for greater creative freedom and experimentation.
This track was conceived as a purely auditory experience, with the aim of evoking anxiety without the support of visual media. All sounds were created exclusively through synthesis, with no recorded elements used.
Through this project, I explored how synthesized sounds can not only emulate real-world counterparts but also be pushed beyond realism to heighten their emotional impact. The process also deepened my understanding of building immersive soundscapes that are unconstrained by visual accompaniment.
This track is rooted in electroacoustic composition and incorporates soundscape recording practices using material captured at a local beach, park, and along my local high street. The piece explores the tension between nature and machinery, examining how destructive human practices erode and overpower the natural environment.
Mixing in both binaural and Dolby Atmos formats allowed for greater experimentation with spatial placement. The birds are positioned to feel as though they surround the listener, attempting to rebel against the encroaching machinery, yet ultimately being overwhelmed by it.
This project enabled me to explore storytelling through soundscape composition, as well as the techniques and creative strategies required to communicate narrative and emotion using sound alone.
As part of an assignment, I was tasked with remixing Waterduct by Ava Luna. I chose to reimagine the track as an eerie, horror-inspired soundscape, transforming a piece of conventionally composed music into something unsettling and ambiguous.
Drawing inspiration from Brian Eno, I deliberately avoided creating patterns that were too memorable, instead aiming to foster a persistent sense of unease—where the listener never quite recognizes the music and so feels anxious.
Working with multitrack material that did not initially evoke this atmosphere pushed me to adopt a more experimental approach, significantly broadening my skills in atmosphere building and sonic transformation.
Building on the approach of the ambient remix, this piece continues to explore an eerie, unsettling atmosphere, but with the intention of functioning more as an accompanying soundtrack than a passive background. Rather than heavily altering the guitar, which remains relatively untouched, I focused on manipulating the human voice as the primary source of unease.
By distorting the vocals, I aimed to create a sonic equivalent of the uncanny valley. This process, supported by wider research into psychological and perceptual responses to sound, helped me better understand how sonic manipulation can provoke specific emotional and physical reactions—particularly those linked to the listener’s fight-or-flight response.
This piece was composed as a conventional string quartet with solo piano, serving as an exploration of emotional expression through music. In writing it, I aimed to move away from a previously formulaic approach to composition and focus instead on conveying feelings in a more intuitive way.
The work centres on a calm, relaxed atmosphere, using repetition and recurring ideas to establish a sense of familiarity for the listener. The insights gained from shaping and communicating emotional intent through this piece have informed all areas of my practice, including sound design—particularly in understanding how familiar sounds can create comfort, and how distorting those same sounds can disrupt that sense of ease.
This piece was composed as an imagined accompaniment to a production of Oedipus Rex, written for string quartet and timpani. My approach was to identify the play’s key narrative moments and translate them into musical form, allowing the score to reflect and anticipate the drama of the story.
As a result, the piece undergoes significant shifts in tone and intensity, subtly preparing the listener—often unconsciously—for the production they are about to experience. During the research phase, I also explored alternative compositional approaches, such as writing around an overarching theme or a specific character. Engaging with these perspectives broadened my creative thinking and strengthened my ability to evaluate and select the most effective approach when planning new projects.
This track was composed as a soundtrack for a film, potentially for a final fight or showdown. Structured around a conventional pop form that gradually builds in intensity, culminating in a dramatic final chorus.
Seeking to push beyond my usual compositional boundaries, I introduced a modern rock band ensemble into my small orchestra. This fusion of contemporary and traditional elements allowed the piece to evolve from “new” to “old,” teaching me how to blend seemingly contrasting textures. The experiment reinforced the value of stepping outside one’s comfort zone, revealing new approaches to instrumentation and arrangement.
This project was undertaken as a dedicated mixing exercise, focused on working with a large and complex session. The multitracks were sourced online as part of a broader collection, with this mix representing the culmination of that material.
The mix was completed in a professional SSL-equipped recording and mixing studio, where I made extensive use of outboard EQ and compression to impart the sonic character of analogue hardware onto the recordings.
Working within a studio environment with limited booking time significantly strengthened my session planning and time-management skills, requiring an efficient and structured workflow. These skills have proven especially valuable when managing larger-scale projects, including audio-visual work such as the Avengers and Electric Flare projects.