For ʻArkʼ, I created, implemented and combined a new soundtrack and sound design for a short animated film created by the awesome Grzegorz Jonkajtys. This was a project done during my third year at Lancaster University, not only to meet the assessment requirements but also to build a portfolio and gain experience with designing sound. 

This was my first venture into Sound Design for the moving image and while not perfect, I learnt a lot from the process of recording the samples, timing them to the visual actions and learning how sound impacts emotionally to the overall product. 

Created in Logic Pro 9 and Reason 6, while using Pro Tools to record foley.  

Also, Mr Jonkajtys - I apologise if I’ve not credited you correctly. To reiterate: the only personal original content in this video is what you can hear.  

This is one of my compositions that I’m most proud of. The aim was to create a spatial piece of music using both electronic and organic elements. The percussion is compiled from various field recordings that took part in some locations in Lancaster with fantastically reverberant acoustics. There are some other location and studio recordings placed within this track as well as some spacey, airy electronic instruments. 

During the creative process, I felt it was no longer about creating a piece of music for music’s sake but rather a process of sound design, which is how I view the finished track today. 

This collaborative audiovisual installation was created for the Music Foyer at Lancaster University, with the aim of having the user be able to control a sampler through movement alone. Created with Max/MSP and Jitter, the camera input was divided into a 3x3 grid. If Motion was detected in a square, an action was triggered. For instance, if movement was recognised in the left-middle square, a drumbeat would begin and waving your hand in the top-right square would cause it to loop. Moving in any of these squares again would cancel the sound. The user was also able to control harmonised sine waves, a a piano arpeggiator, bass lines linked with the beat, sound effects, visualisations and an audio looper that would record the user’s voice and play it back. There are plans for further development to this project to increase stability, add new options and future presentations in other locations.

Created in a group with Grace Zarczynska and Tim Hamrouge

Patch can be found here:

A re-uploaded, reworked ambient track looking into coupling sound design with composition. The aim was to create a rainforest soundscape that gets trippier and more intense as it goes on, bringing the listener into a more passive meditational state. I added instrument samples and more of a rhythm as well as some underlying elements (low frequency tones and panning effects).

Sit back, stick on some headphones and have an experience. 

Pink Triangles 3D

Composition for Moving Image

For a 2nd year Music Technology project, we had to find an experimental animated movie and write music for it. The moment I found the brilliant Pink Triangles 3D by artists AL & AL, I was inspired. I used Reason rewired through Logic predominantly when making the music and went for an electronic style to mimic the android-like/uncanny valley feel to the figure in the video. 

This is an example of my compositional style and how I write music

Pink Triangles used with kind permission - Copyright AL and AL 2009


Some more of my own work:


“Dial-an-environment” is a government run service that offers users to dial different phone numbers to hear various environments. Because this is a world where pollution and war has forced the entire human race indoors, people are unable to hear these sounds in person and the government are unable to record these environments. Therefore, all of the experiences for “Dial-an-Environment” have to be synthesised.

In this scene, we hear somebody call “Dial-an-Environment” to be distracted from the smog and pestilence that affects future Britain. The first ambience they dial is one of a barren, windswept plain in the Highlands of Scotland. While listening, we hear the wind rustle the bristly heather and the howling caused by the bleak, rocky cliff-faces. It is raining and there is a storm brewing, as we hear the occasional bark and growl of thunder. While this is calming and relaxing, our protagonist seeks something a little warmer. They dial another number (premium rate) for another barren plain, albeit in New Mexico. We hear the cicadas in the dry grass nearby and the sand being picked up and thrown about by the wind. Our main character is eventually irritated by the sound of cicadas, with the little insects triggering distant, uncomfortable memories of being bitten by an irradiated grasshopper.

They want to move on and start dialling, but since the traumatic cicadas distract them, it is tragically the wrong number. What they hear, instead of the ambience of a relaxing seashore, is a warzone with unrelenting, deafening explosions. Even over a a phone the devastating blasts and growl of the fireballs rattle the brain of our protagonist. After the initial shock of hearing this, they quickly dial the number that they meant to in the first place. Sadly, for our character, this number is busy and they end up settling for the Highland wastes that they found in the first place. After trying to relax, they are too shocked by the insects and explosions to make use of this helpline. After considering dialling another number, they change their mind and hang up at the last minute, before the next ambience has a chance to begin, which is where we leave them.


“Dial-an-Environment” is made up of several key parts to create the scene: wind, rain, phone tones, cicadas, explosions and thunder. The whole scene is self- contained and can play out entirely, just by triggering the initial bang. This is done through a series of delays, counters and routing. Most of the patches are inspired from Farnellʼs Designing Sound. While they are very similar to some of the patches in the book, they were built from the ground up personally, following the instructions rather than copying out the pictures. This meant that I was able to troubleshoot any problems that arose and to find out the intricacies and theory behind each patch properly and edit them accordingly to fit what I was trying to create. These patches mostly use filtered and band-passed noise in various ways to create different effects and this technique can create various sounds, which I wanted to explore the full breadth of.