Sound in storytelling isn’t just about music working with image. Sound alone has never been more alive thanks to podcasts, audiobooks and radio. This offers up the opportunity to use both music and the spoken word to reach a whole new audience. I've been lucky enough to help create some exciting audio stories with some great creators.
Composing for media or live performance often includes producing the sounds as well as writing the music. In order to achieve the best possible sound quality, I've invested heavily in quality instruments and sample libraries. The result is a professional sonic arsenal ready for any assignment.
The studio is built around two core components: hardware synthesizers, the flagship being the stunning Moog One polysynth, and an extensive range of orchestral sample libraries from the likes of Spitfire Audio and Orchestral Tools.
Moog One, OB-6, Prophet 12, Roland Jupiter Xm, Arturia Matrixbrute, Elektron Analog Four MK II, Digitone & Digitakt, Nord Lead A1, Novation Peak, Roland TR-08, Modal KraftSynth, PO-12, Deepmind 12, Modal Skulpt, Arturia Drumbrute Impact, Make Noise 0Coast.
Spitfire Audio (inc BBC Symphony Orchestra, Albion I-VI, Spitfire Studio Orchestra Professional, Chamber Strings), Heavyocity (inc Gravity, Novo), East West (Composer X), Output (Signal, Exhale, Analog Strings, Analog Brass & Winds, Substance), Orchestral Tools (Inspire, Metropolis Ark I-IV, Time Micro and Macro) and many more.
Spectatronics Omnisphere (with multiple soundbanks), UVI Falcon, Korg Collection, U-he Hive, U-he Diva, U-he Zerba 2 & HZ, Lennar Sylenth, KV331 Synthmaster, Native Instruments Komplete Ultimate, Arturia V Suite and (too) many more.
Elektron Octatrack, Roli Seaboard RISE 49, Technics 1210s, Eventide H9 Max, Elektron Analog Heat, TC Helicon VoiceLive Touch, Shure SM7b microphone, Electro Voice RE20, and much more.