Projects

Maniae (Original Song)

For this original full-band track, I engineered all vocal recordings and directed mic setup for drums, bass, and guitars. I selected and placed mics such as the Sennheiser e609 and AKG D112 on kick, Lauten on snare, and U87s for overheads, ensuring clean, phase-coherent takes. Bass and guitar were captured through DI and amp mics (SEN421, SM57, Royer) into Neve preamps and Distressors for tonal control. Vocals ran through a Neve → LA-2A chain, with multiple takes tracked for performance options. I also prepared Pro Tools sessions, managed gain staging, and created additional piano, synth, and vocal textures, leaving Wayne Hawthorne with a flexible, unprocessed foundation for production and mixing.

Electronic/Dubstep Mix Project

Completed as part of my Music Industry Arts Honours Diploma, this project required me to mix a pre-recorded multitrack session to match a provided dubstep reference track. I performed all mixing independently, focusing on genre-accurate balance, low-end clarity, and transient punch. The final deliverables included four mastered versions tailored for different platforms: CD/Digital, Netflix, Vinyl, and Broadcast. My workflow emphasized clear session organization with color-coded buses, detailed effects placement (mono stutters vs. stereo atmospheres), and serial bus compression using both an LA-2A and Distressor for tonal glue and peak control.

Overlap (Original Song)

Overlap was created as an original project where I oversaw the full songwriting, arrangement, and recording process, with additional songwriting and melodic refinement support from Viyana Shojaei. All vocal tracks were recorded using a Warm Audio 251 through a Neve preamp into a Distressor for the main takes, with an LA-2A used on doubles and backgrounds. I wrote and tracked all synth, bass, and pad parts in Studio One and transferred them to Pro Tools for the final session. A session drummer was initially brought in, but the final production features programmed drums to achieve a more synthetic, cinematic feel. I provided a starting-point mix and continual production direction, collaborating with mix engineer Wayne Hawthorne on layering and final mixdown decisions.

Immersive/Binaural Mixdown

This was my first time working in immersive audio, created from a live performance recording. I expanded stereo stems into a 5.1 surround mix and then rendered a binaural version for headphones. The WAV provided here is the binaural mix, created using Head-Related Transfer Function to preserve spatial intent in stereo playback. Vocals were anchored in the Center image, drums spread across the stereo field, toms placed toward the rears, bass anchored low, and guitars/keys distributed with depth and width. I adapted the mix for multiple delivery standards: -24 LKFS for film, -18 LUFS for streaming, and -14 LUFS for binaural. This project marked my first exploration into spatial mixing, and I plan to continue developing these skills in future work.