My work as a freelance live sound engineer has included operating a mixing console, either as a FOH or monitor engineer working either directly for an artist, or for a venue/promoter or sound company. I am also confident and experienced in all stages of implementing a speaker system for specific events and or venues. This has included full scale system design, obtaining quotes, setting up and maintaining speaker systems. I work regularly with a number of production companies and sound rental companies.

I work with King Sound on a number of large scale outdoor events and music festivals through the summer. Recent jobs have included Watchet Festival, Bristol Pride, Bristol Sounds and Harbour Festival Bristol. My roles have included rigging L'acoustics K2 and Kara systems, Mixing FOH and Monitors for festival stages and running stage patch and playback for festival stages.

Providing specialist sound engineering services for corporate parties and gala dinners. My work with Focus has largely been centered around the Victoria and Albert Museum and other infamous galleries of London. The style of event requires a high speed turnaround of event spaces from public gallery to full production corporate event. I have worked to a high degree of accuracy and profesionalism to help fulfil the technical requirements of these events.

CPS, or are a very regular client for me. I have been working with the company for 3 years. The roles that CPS hire me to carry out are primarily sound engineering related. I have operated sound mixing consoles as FOH, monitors and corporate AV engineer on many occasions. I have also managed stage patch for festivals with rock bands and full orchestral performances. I have managed the audio patching for stages of 75+ inputs per artist on multiple occasions for CPS. These events have often involved tight changeover times with complicated technical requirements, I have managed these environments to ensure that the mix engineers get the appropriate amount of time to carry out their roles. The sound systems that CPS use are mainly D&B Audiotechnik. I am often hired as a system technician to set up and look after sound systems of various size and scale. This has varied from large scale flown line array systems for several thousand people to distributed systems for conference environments.

My roles with Dobson vary between that of sound systems engineer and sound console operator. The role of systems engineer has responsibility over the setup and maintaining of a sound system for an event. This can mean setting up a sound system for a red carpet event that does not interfere with the press but still encourages a good atmosphere for the audience. Another example of system engineer work can be setting up a party system for a function band and speeches in a professional manner that appeals to the visual constraints of corporate events. The operator role for Dobson involves working with a range of the latest mixing consoles in the industry. The operator has to manage the various sound sources in any given event and work closely with the client to make sure that the correct sound information is reaching the audience effectively and intelligibly. Dobson typically work on high profile corporate events. On these events there can be high pressure to work efficiently within challenging environments such as museum gallery spaces and palace dining rooms.

Notable tours include touring throughout the USA with the production of “Martin Barre celebrates 50 years of Jethro Tull”. The responsibilities of production manager were additional to my main role, mixing the front of house sound for the band each night of the tour. I was mixing FOH in theatres of up to 1000 capacity each night. The show involved an 8 piece band on stage with two separate drum kits. The show channel count reached 40 lines from stage. I was also responsible for triggering video playback during the show for each song. I was both production manager and front of house sound engineer on this tour. One of my responsibilities was to recruit and manage the tour crew. Another responsibility of this role involved procurement of required technical equipment and back line (the band own their own sound consoles and full back line). I also had to arrange for the shipping of all equipment and then further transport of the duration of the 6 week tour. In 2020 the production toured extensively through South America. My main role on this tour was mixing FOH sound for the band in 1000 to 3000 capacity theatres and arenas. I also carried out the role of production manager for this tour. This tour was mainly run on “fly in” style shows. As a result, the production was carrying minimal backline and technical equipment. My duty as production manager included ensuring that each venue on the tour would provide suitable rental equipment to match the requirements of the show across the continent. On previous tours I have also filled tour manager responsibilities. I have managed show settlements with local promoters, organised accommodation and transport for the band, generally managed the hospitality needs and requirements of all the personnel on the crew. Tour managing duties have always been carried out as an addition to my main role as band sound engineer.

I have undertaken a wide range of sound roles with RG Jones including major UK sporting events and festivals and large scale corporate events. I am employed regularly as desk operator (FOH/Mons/Corporate), PA rigger (Martin Audio and L’acoustics), Radio system engineer (Shure and Sennheiser systems, IEM and radios).

I have had a working relationship with the Vaults Festival for it’s first three years. I have been hired to professionally set up a multi-performance space theatre venue from scratch for each year. The space contains a number of different theatres and performance areas that require a consistent quality of audio throughout.I have also been involved in managing the audio for live events within the festival. This has involved mixing live rock bands in a challenging acoustic environment and operating sound for theatre performances. The festival requires each theatre space to operate on a tight schedule as multiple shows will be in each space per day. I have helped to turn a theatre space from one show into another to create the immersive atmosphere required for theatre and still work within the constraints of the festival environment.

I worked as a full time engineer for RG Jones over the summer period. I continue to regularly work with the company on a freelance basis

I have worked as the live music technician at this club in Plymouth on a number ofoccasions. This involves fulfilling a number of roles simultaneously to ensure that theevent runs smoothly. In this club I am expected to carry out the responsibilities of aSound Engineer, Lighting Designer, Mic tech, Back Line Tech, Stage Manager and DJ in anight.

I am the in house sound engineer in a 300 capacity professional touring venue. I have worked with a number of bands in my capacity whilst at the venue. These include The Hoosiers, The Damned and Funeral For A Friend. It is also soon to include Futures, Girlschool and Young Guns.

I was contracted on a freelance basis with Crash Manor in Plymouth predominantly forthe duration of the Plymouth Evening Herald Battle of the Bands; . This Event ranthrough the course of the summer into November of that year. I have since worked anumber of other gigs at the same venue. My role in this venue was to run the sound,lights and stage. This meant ensuring the bands were organised and running the technicalside of each performance, with the main PA mix and monitor mixes for the band.Crew Member, Rock City Stage Crew