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. 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 available, 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 upcoming AAA video game release, an entire film score, or the production of a full album, there’s infinite scope for your production here. Scroll down for a few examples of my work plus some of 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.

Location/Field Recording

Nothing beats having a dedicated sound recordist and engineer on set or location to capture the all-important sound as accurately and in as high a quality as possible. From wildtracks to interviews, to concert, performance, or sound design capture, my fully-encompassing field recording setup guarantees the finest sounding audio for your project. The location sound rig includes:

  • Sound Devices Mixpre 10T main location recorder/mixer with battery sleds and assorted NP-F batteries
  • Edirol R4 Pro backup recorder (upgraded to CF storage)
  • Rode NTG3 Shotgun Microphones x2
  • Rodelink RX/TX digital radio receivers/transmitters and lavalier mics x2
  • Rode Boompole & Rode blimp
  • Sachtler location recording bag & custom-made desktop stand for location recorder
  • Rycote/Rode wind-jammers
  • Rycote/Rode Lyre microphone supports
  • Rycote Stickies and Undercovers for hidden lav mic positioning
  • High-quality cables, stands, and misc. accessories
  • Additional equipment readily bought-in or rented wherever required.

All my equipment is maintained to the highest order and cleverly cased for organised and safe location recording with air-travel in mind – It’s tried, thoroughly tested, and completely trusted.

Edit / Restore / Mix / Master

A technical area to be sure, but one where we can be just as creative. Utilising incredibly powerful tools, including but not limited to the latest Advanced-Edition offerings from Izotope (including RX etc), remarkable things can be done with all forms and sources of audio.

From dialogue edit, leveling and general improvement in clarity, to recovering the perfect scene that’s been slightly marred by an errant but impressive sneeze or a post VO recording script alteration, to music track mixing or album mastering, it’s all covered here.

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.

“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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