BBH got me involved on this radio advert in order to seamlessly morph from Ben Pope‘s composition into the sounds of WW1.  I took the high note of the violin part and morphed it into the sound of a whistling bomb, and from that point onwards I edited the sound of rocket launches, machine guns and explosions to match the rhythm of Ben’s timpani parts that preceded it… that was the idea anyway.

Akin Akinsiku, art director at Nickelodeon UK, has asked me to write three tracks to work across the rebrand of the Nick Toons channel for 2012.

There was quite a lot of variation of pace and style across the animations – I thought that three tracks wasn’t going to be enough so I ended up sending in seven demos and Akin kept them all.  They vary in pace and mood but are all kinda dubstep/breakbeats – check out this compilation.

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This advert was directed by Anthony Dickenson from Pulse Films, with visual effects work by Time Based Arts.

The sound effects work for this involved a lot of laser noise making, mainly using various synth noise generators, and the Ohm Force filter plugin ‘Quad Fromage’ which has a great comb filter.  The comb filter creates most of the metallic movement of the laser noises, blended with electricity fizzling and burning noises to give it that organic edge.

Other than all the synthetic stuff, I recorded a whole load of foley with Graeme Elston at Jungle Studios, and took it back to my studio for editing and mixing.  The foley was essential to give the film that hyper-real quality, and having lots of clean layers of sound gave me more control over the dynamics.

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I tried to blend the sound effects with the track by 16bit, so that hopefully the audience see them as one entity… anyway 16 bit are amazing producers, check their myspace!

This was directed by Chris Cairns for the danish Agency, ‘Thankyou’.  Chris and I have collaborated on quite a few musical projects over the years but this one was a bit different – the final work was always going to be written by Trentemoller (check out his stuff if you haven’t heard it, it’s brilliant).

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Initially I wrote a skeleton track for Chris so that we could time out which order his storyboards would be cut.  Mr Cairns’ idea was to link certain groups or individuals within the film with parts of the track, so with this in mind I created clear themes in the drums, bass and lead parts that would work with certain mechanisms within the film.  This initial skeleton was then passed on to Anders Trentemoller so he would have a template for the visual edit when composing the final music.

During post production and as I built the sound design elements within the film, the visual effects team (Time Based Arts) and I shared our work constantly.  This process helped generate some of the effects that were created, in particular the style of the digital reduction of the dancers.  A lot of the effects I made were using the Sonalksis bit crushing plugin amongst others, and the new GRM Tools plugins that came out in 2011 – they are quite obscure and can produce some fairly nasty sounds!

Aside from working on the sound design on this film and helping produce the music with drummer Will Clark, vocalists the Foreign Beggars and the Scratch Perverts, I have a cameo part as the audio technician… check out the hair (ok it was a while ago).

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Directed by Chris Cairns and produced by Bonnie Anthony at Partizan, this film was a true labour of love and well worth it.

Check out this fairly odd remix for shits ‘n’ giggles (nothing to do with me I hasten to add).

Imagine is a series of documentaries directed and presented by Alan Yentob, creative director at the BBC.  I wrote the music for the title sequences, all featuring animation by Bold Creative.  The music before the title sequence on the link is not mine, it’s the pencil drawn animation bit so keep watching past the guitar intro.

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I was lucky enough to be able to get the immensely talented Oliver Coates (cello) and Ruth Palmer (violin) involved – and I got to record them at the rather fancy Strongroom studios in Shoreditch.

This is a real golden oldie, directed by Team Stush at Partizan back in 2006… half of them got food poisoning in the making of this.

I took the classic track ‘Hooray For Hollywood’ and remixed it adding a squelchy bass and some extra drums.  Then I sampled the end of the track and automated the end point of the loop in Kontakt (sampler) until it became a pitched note, finally squawking to a finish as the fruit dance enters the can. Add sfx et voila!  If that didn’t make sense, watch the film and that should clear things up.

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This film was part of a series of films imagined and directed by Jane Laffey at Nickelodeon.  I wrote the music and did the sound design and mix – it was a real pleasure to work on such inspiring stuff.

The voice is a recording of a kid and their true story, captured by Bold Creative and then animated to bring it to life.  The film was recognised with a Bafta and Promax Gold award, testament to a great bit of film making!

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My sound track for this mood film for Nike (directed by Saam Farahmand) is made of very low frequency stuff so turn it up or stick your cans on.  Most of the sound was created by playing a couple of hardware keyboards live to picture, fairly heavily distorted, with lots of automated plugin effects to create the movement, and an LFO on a low resonant bass sound, with several passes being mixed with eachother.

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