Production

 

Composition

I specialise in music composition and production, and whilst I have particular fondness for certain genres/styles, I pride myself on adaptability and breadth. My creative priorities are clear and focus on: empathy, message, tone, engagement, structure, emotion, effect, connection, imagination, heart, and immersion. One word I’m rather less enamoured by, at least within a creative and artistic context, is ‘compromise’. My professional priorities are simply the brief, the budget, deadline-thumping turnaround, and offering a genuine alternative to library music.

Capitalising on a ‘musicality-first’ approach backed-up with the necessary technical expertise, and utilising some of the finest software libraries Spitfire Audio, Native Instruments, Toontrack, VSL, and EastWest have to offer, there’s endless scope in the range of sounds and styles available – and of course the highest sonic quality is guaranteed.

Whether you require an ident, a sting, an incidental-pad, a television theme, music for video game, an entire film score, or the production of a full album, there’s a great deal available for your project here. Scroll down for examples of my work plus the other services on offer.

 

Sound Design

Through synthesis, organic sources, and numerous imaginative methods of sonic-manipulation, worlds of yet-unheard sounds await your film or game!

Sound design isn’t limited to the creation of bespoke, cultivated audio however – it can also encompass track-lay, sound-diffusion, and many other important processes.

Session Recording/Stems

One of my favourite musical roles is providing multi-genre multi-instrumental session work/delivery. I also offer musical drum and orchestral-instrument programming and re-voicing.

Instrumental sessions are delivered both fully-processed, and with the raw DI/mic audio so that they can be re-amped/edited later if desired. Similarly, programmed stems and arrangements always include the original performance midi.

VO Recording, Direction, & Delivery

My dulcet South-Walian tones have their place, but perhaps you have the perfect voice-talent in mind and just lack a recording location or producer.

I run a production-studio, but still offer the acoustics, equipment, and sympathetic direction required for top-end VO performance & capture, plus the all-important post-processes. From high quality automated-telephone-menu-service or narration, to audio-book recording and production, it can all be done here.

Edit / Restore / Mix / Master

A technical area to be sure, but one where we can be just as creative. Utilising the incredibly powerful tools within Cubase Pro 9/Wavelab etc. and the latest Advanced-Edition offerings from Izotope, remarkable things can be done with all forms and sources of audio.
 
From general dialogue edit, levelling and general improvement in clarity, to recovering the perfect scene that’s been slightly marred by an errant but impressive sneeze, to music track mixing or album mastering, they’re all jobs worthy of unsung heroes and heroines. Just as the digital domain and technological advances have brought decent quality recording to the average bedroom, so has it made available game-changing tools usually reserved to only the largest and most specialist studios.

Simply send me your track, edit or cut for an idea of what treatment could be given – that’s assuming any treatment is even necessary! It may not be the most lucrative stance, but the truth is it isn’t always required, and you just need to hear it from an unbiased individual in order to put your mind at ease.

“The average audience member will never know what goes into all the television, music, game, and film audio that we experience every day. And to my mind, neither should they! It isn’t the average Jolene’s job to know what Yo Yo Ma or Cirque du Soleil go through in order to knock our socks off. Equally, it isn’t their responsibility to understand how the dialogue in their favourite film is somehow perfectly intelligible despite the Eurofighter Typhoon that barrelled past whilst filming, or that those gut-wrenching monster growls which made them drop their popcorn actually started life as a slightly over-inflated puffer fish..”

Rhodri John

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