recording on a grand piano I have built up considerable experience in the field of recording, mixing, mastering and general sound production over the last 30 years, having recorded and produced many multi-layered solo performances, radio commercial jingles, singers, band albums, and dance tracks such as my 2003 dance cover of Justin Hayward's 'Forever Autumn'. I have mixed and mastered albums where the recording was done elsewhere, such as Hot Gospel's "Many Rooms" CD.

My 'recording' experience began around the age of 12 when I first started to get interested in the concept of multi-track recording, though in those outrageously expensive hardware-only analogue days the only facilities I had were two cassette recorders, so multilayering instruments was a process of recording a piano onto one, then playing that back whilst playing bass or drums using the second cassette machine to capture both the live performance and the first recording together, giving effectively two tracks. The same process could be repeated maybe a further 1 or 2 times to provide the equivalent of a 4-track recorder, though the hiss would increase and the quality rapidly deteriorate with each new layer. I still have the first tape I ever recorded like this and some of the tracks on it will soon be available on this site for anyone interested in hearing them.

Around the mid 1990s, when technology and digital audio recording and sequencing software had progressed to the point where good quality home recording became possible and affordable, I started building a small home studio, gradually getting to grips with the hardware, software and basic recording techniques as well as learning how to perform when recording more than one instrument and how to arrange it to allow each instrument to be heard and do its job. Through the process of working on many small and large projects, from recording individual songs or tracks to producing entire albums, I studied in great depth the complex and fascinating world of studio sound engineering, continually striving to achieve better and better results, quality and production, learning more with each project about recording fundamentals such as the use of EQ, compression, maximisation, effects and all the other technical jargon you have to cover. Over the years I have also had several opportunities to experience recording in some fairly large studios including Fairview in Hull and Shepperton Studios in Surrey, usually as part of a band, working with an experienced engineer.

Cakewalk Sonar X1 virtual mixing deskI have always stuck with Cakewalk's DAW software throughout, and seen the workstation software improve massively from the early midi-only versions through to the Pro-audio series, then onto Sonar and now onto their incredible and powerful Sonar X1 Producer Expanded which comes bundled with just about every conceivable plugin and softsynth you could imagine or wish for, certainly enough to cover practically any type of music project, and with 'rewire' technology Sonar can be used together with other products like Propellerhead's Reason (which is what I used for my Forever Autumn dance track). The results you can achieve with Sonar X1 (and equivalent software like Cubase and Logik) are really on a par with what you would expect from any professional CD produced by the big labels and studios, but even the best studio equipment or software depends entirely on how it's used and that's where technical knowledge, recording experience and musical creativity comes in and is completely essential.

As with learning an instrument, understanding how to get good results in a studio is a gradual process which takes a long time, which is why the best mastering engineers generally have at least 20 years experience before they really get it right, and there is always plenty more to learn. I would not consider myself a mastering expert by any means, but I have learnt a lot over the years and can achieve great results which you can hear examples of in the Hot Gospel album and the Forever Autumn cover. There will soon be some other examples of my previous recording work on this website for you to hear.

Some previous recording projects

2012 - All For One Choir - 'Perfect Day' album
2010 - Hot Gospel - 'Many Rooms' album
2006 - Lorca Rising Tide album - (original acoustic rock music)
2005 - Lorca (original band) first album - (original acoustic rock)
2003 - Forever Autumn dance cover (commercial trance)
1998 - Colours and Shapes (original song by Kirsty Richardson)
1998 - 'Glass' album (original mainstream pop music by Mike Watts and myself)
1997 - Eat Your Words and Neuron Accelerator underground trance tracks (12" single)
1997 - Approx 30 radio and cable TV commercial jingles
1997 - Approx 20 backing tracks for professional singing band 'Motown Magic'

Return to Biog page