About

I build audiovisual systems, and I build both halves of them.

Most audiovisual work is a handoff: someone makes the music, someone else makes the visuals, and the two meet at the end. I do both to a professional standard, which means the meeting can happen much earlier, while the sound and the image can still change each other. It started at home. I grew up hearing my parents practise medieval stringed instruments and obscure Middle Eastern flutes, so shaping sound with computers felt inevitable.

Audio came first and stayed. At Goldsmiths I studied Music Computing: synthesis, signal processing, psychoacoustics, the mechanics underneath the tools rather than the tools themselves. Since then I've mixed and mastered thirty-two releases for independent artists, mostly electronic (drum and bass, garage, house, EDM) alongside singer-songwriter work, totalling around 230,000 streams. Each genre wants a technically different approach, and moving between them keeps the ear honest. For two years I also coordinated a London post facility whose clients included Netflix and Marvel. It was a support role, but it put me next to professional post-production every day and showed me how dialogue, foley, editorial and mix actually fit together at scale.

The visual side began as curiosity and became half the job. I learned Blender for the world-building, for the specific pleasure of having authority over a space that doesn't exist, and started making work where sound and image weren't separate layers but one system: music videos and visualisers for Zeñel, cover art for Elsas, a composite video for Tomoko Abe's Aurora, projected onto layered screen-printed fabric. Earth Particles is the clearest version of what I mean by that — I wrote the music and built the particle system it drives.

Game engines made the bridge live. After Unity, and some game audio work in FMOD and Wwise, Unreal Engine turned out to be the thing that made real-time audiovisual performance genuinely possible. In 2022 I built and ran the live visual system for the American Beatbox Championship in Atlantic City: audio analysis driving Unreal and TouchDesigner, generating visuals from the performers' voices as they battled, with no second take available. Four of those sets are in the work section.

Since late 2024 I've been the 3D and real-time lead at FlickerLab, an Emmy-winning animation studio in New York, and the first 3D-capable person they hired. That meant choosing the tools, setting the working conventions, and delivering client-facing work from month one, with no existing 3D setup and no team to inherit. The largest of those was a fully animated MetaHuman spot for Diageo's 2025 trade show: I performed and captured the motion, cleaned the animation data in Cascadeur, assembled and animated the sequence in Unreal, and rendered the final delivery. Three people, one month.

I'm in New York and available for project work. I'm most useful on jobs where both halves are in play at once: live performance systems, installations, and audiovisual work where the sound and the picture are meant to be the same idea.