I started my career in studios - recording things over and over again, and refining edits to get it sounding just right. I still do this, but as time has passed I've found myself enjoying the ephemeral nature of live events and broadcasting ever more. Using my years of experience to do a good show live on the night, in front of a real crowd, and then once it's over being able to celebrate a job well done (perhaps with a glass or two) is hugely satisfying.
I've done live show mixing in everything from pubs to stadiums to the Acropolis. For several years pre-pandemic I was FOH engineer for Vanessa-Mae, doing fun gigs across Europe with solo violin, rock band, choir and varying sizes of orchestra. For the past five years I've mixed the Thursford Christmas Spectacular as well as being sound designer for the show. I've done live outdoor amplified opera, and have developed a close relationship with d&b audiotechnik and their Soundscape immersive audio system.
Whilst I like to specify my preferred gear on a rider, I'm not at all precious about these things, and will flexibly and happily work with whatever professional equipment is available. I've mixed on DiGiCo, Avid, Yamaha and Midas consoles, and on d&b, L'Acoustics and Meyer speaker systems. I have my own compact Smaart analysis system that can travel with me, and for classical and theatre shows I can read and work from a score of any complexity.
Here are a few pictures from various gigs:
Getting very hot under an umbrella in Athens:
Much colder outside in Moscow:
Preparing for Vanessa-Mae, José Carreras, full symphony orchestra, choir and rock band in Prague:
And hot again, but this time at Wembley Stadium for the Capital Summertime Ball 2023:
