I used to DJ in the 90’s to crowds of revellers in Devonshire fields and on Welsh mountainsides. So I guess that mixing has been a part of me for ages, as DJing is like mixing and editing live. In 1996 Max moved in to the house opposite mine. He soon saw that I had a good ear and imagination for sound, and in 1997 he offered me a job. At first I was a sound recordist and assistant editor. I was out and about in the daytime, recording everything from donkeys to aircraft, and I would sit in Max’s home studio tracklaying through the night. I went on to work as a sound editor, doing the night shift at Buffalo. Over the next few years I progressed into mixing. I’ve been the dubbing mixer at Buffalo since 2005, and I love working in our new dubbing theatre. Dolby Atmos is mind-blowing; it’s a lot more immersive, but saying that, 5.1 and even stereo also sound brilliant in there.
What is the best aspect of your job?
Seeing something that I worked on repeated years later, and thinking ‘wow, that sounds good.’ It’s great to see a film again once you’re detached from it.
What is your favourite plug-in?
R X spectral repair for repairing dialogue, it’s like Photoshop for sound. Also Halo upmix – for up mixing stereo atmos and music to 5.1 , 7.1 and even 9.1. It really fills the room.
What is the most challenging project that you’ve worked on?
Hidden Kingdoms was quite a challenge but it did win a lot of awards, including best sound design at the Giant Screen Awards. So all the effort was worth it.
What is your favourite film for sound?
Apocalypse Now for apparent sound, The Blues Brothers for music, and for best quality it would be all the films that I’ve watched and not noticed the sound.