About me
I am a sound designer, composer, and creative technologist working at the intersection of audio for narrative, electroacoustic composition, and spatial sound for media. My creative practice explores how technology can shape storytelling—through immersive soundscapes, experimental workflows, electroacoustic textures, and emotionally immersive sonic environments for screen-based and spatial experiences.
With an instrumental background in world music and percussion, my practice evolved into studio-based composition and sound engineering, enriched by academic rigour. I navigate the creative space between science and experimentation, focusing on how sound can carry emotional, spatial, and narrative weight. Recent projects include the development of haptic sound design systems for Jaguar–Land Rover, electroacoustic music for speculative sci-fi worlds, and immersive audio for audiovisual storytelling.
Teaching
My teaching centres on the creative use of technology in sound and music for screen-based and narrative media. I support students in sound design, electroacoustic and virtual music composition, DAW-based production, studio and field recording, mixing, and research-led project development. I work across undergraduate and postgraduate levels, guiding students to develop creatively and technically fluent narratives, with a focus on current production practices and industry workflows. I actively foster connections between students and industry, bringing practitioners into the university and supporting students in navigating professional opportunities.
Research
I hold a PhD in electroacoustic film music composition and am a Fellow of the Higher Education Academy. My research and practice are driven by curiosity, collaboration, and the belief that sound is not just heard, but deeply felt.
My current research explores how sound and music are perceived and interpreted within narrative and immersive media. At its core, my practice is driven by a fascination with the creative integration of technology, especially how design processes, spatial formats (e.g. Ambisonics, Dolby Atmos), and emerging tools (e.g. AI tools) contribute to sound worlds that move beyond the narrative into emotional archetype, symbolic perception, and the deeper dimensions of human experience. Core areas include sound design, electroacoustic and electronic music composition, and experimental uses of technology in audiovisual contexts. I also investigate sonic visualisation, data sonification, and the creative mapping of symbolic systems through sound.
I welcome opportunities for interdisciplinary collaboration and supervision in narrative sound design, spatial audio, and the creative use of (emerging) technologies (incl. AI) in media and music production. In addition, my interests include film music, audio drama, data sonification, and genre-based electronic music, especially where it intersects with Afro-Cuban, Brazilian, and other rhythmically rich traditions.