About me…

I've always been drawn to sound — not just what things are supposed to sound like, but what they could sound like if you really leaned in.

Over the years, that curiosity has led me to work on some pretty incredible projects. One of the biggest was The Mysterious Death of Natalie Wood. It was downloaded over 25 million times and made a global splash, landing on Apple's Most Downloaded New Shows list and getting a Webby Honoree nod. I still get people telling me that show stuck with them.

I also mix and sound design Even the Rich, a podcast about the drama behind dynasties, which has picked up multiple Ambie nominations — including a win for Best Entertainment Podcast. I've worked on Scamfluencers too, which took home its own Ambie. And recently, I got to help build Even the Royals from the ground up. That one just got a Webby nomination for Best History Podcast, and I'm really proud of what we made.

Before all this, I led the audio team at City Recital Hall in Sydney. Live sound is a different beast — there's no undo button, no safety net. It taught me how to make sharp decisions fast and really trust my ears. One second it's a string quartet, the next it's an experimental percussion group with custom-built instruments. I loved every unpredictable minute of it.

And before that, I studied audio technology at the Australian Institute of Music. What really stayed with me wasn't just the technical aspects — it was learning how to listen. Deeply. Carefully. With purpose. That's also when I started working with some of Australia's most respected classical ensembles, like the Sydney Symphony Orchestra, Opera Australia, and the Australian Chamber Orchestra. Those early experiences shaped how I work today — with detail, with emotion, and with an ear for the big picture.

Sometimes my curiosity takes me beyond familiar territory. I spent two months in Nepal and India, recording local musicians in temples, villages, and mountainsides. It was completely immersive — nothing staged, nothing polished. Just real sound, in real time.

And then there are the odd projects that light me up in a different way — like the time I built a motion-controlled glove that lets me control my DAW with gestures, using Arduino and Python. It sounds a bit sci-fi, but it actually worked. Or when I designed the sound for Reservoir Cats — a feminist reimagining of Reservoir Dogs that was as fun and chaotic as it sounds.

When I'm not in the studio, I'm usually chasing wonder. I've climbed Mt. Fuji, motorbiked across Vietnam, and been amazed by Yosemite. Those experiences keep me open — to people, to new sounds, to new ways of telling stories.

At the end of the day, I just want people to feel something when they hear what I've made. I want to create the kind of work that inspires, transports, and maybe even lingers a little.