I am an audio engineer, and have always worked in sound in one form or another.

I am now a freelance sound engineer, working mostly on corporate meetings and live music shows. I also provide sound for small events, mostly in the educational area.

Here is a “potted” history of my life as a sound engineer.

I was good at languages, like my Dad, and at first that was my intended career. But I really wanted to be involved in music, and my sister found a college course for “Electronic Musical Instrument Technology”, and, after an “epiphany” (I can remember the exact time and place when this happened) I resolved to change my career path. My father was disappointed, but I am glad I made the decision.

While at college I joined the folk-rock group Frugal Sound, and I greatly enjoyed life as a “professional” musician. We made a couple of records, but they didn’t take off. However earning twenty pounds in a weekend was  exciting!

I met up with Jonathan Hodge, a composer of TV jingles, and embarked on building a recording studio for his company, Sounds Aquarian. I hand-built our first set of equipment, including the mixer and tube (valve) amplifiers! I worked with many celebrities, at first more than I wanted to.  I cover my numerous celebrity encounters on a separate page.

Sounds Aquarian went from strength to strength, and we produced hundreds of TV commercial jingles. I used an ECS  VCS-3 “Putney” analog synthesiser to create musical sound effects. We scored three films, “Villain”, starring Richard Burton, “ZPG” with Oliver Reed, and “Embassy” with Richard Roundtree. We also provided music for an animated film, “IKB”, about the engineer Isambard Kingdom Brunel. While working at Sounds Aquarian I joined the crew of Jethro Tull for a short American tour.

Unfortunately Sounds Aquarian became a little too crazy for me, and I left, and joined Midas Audio, manufacturers of high-end mixing consoles. This work was far less glamorous, but I enjoyed the relaxed pace, the people who worked there, and the excellent reputation of the product.

Through Midas, the opportunity came up to join the crew of Supertramp in Los Angeles. This was intended as a temporary move, but I decided to say in Los Angeles (I love the weather) and met my wife there. I became a partner in Delicate Productions, a touring sound and lighting company that has its origins in the Supertramp road crew.

Tiring of touring, I left Delicate Productions. This was a short-sighted decision in retrospect. I went on to work for Stanal Sound, and then Audiotek, a well-respected sound company. With Audiotek I worked on many very high-profile shows, including the Oscars, Emmys and Superbowl.