Why Audio
Why This Medium
Intimate storytelling. A voice, a moment of silence, a piece of music. Entire worlds created inside the listener’s imagination.
When someone puts on headphones, they invite you directly into their imagination. Sound, silence, rhythm and voice can create entire worlds without a single image.
That’s what continues to fascinate me — the moment where carefully shaped sound stops being technical production and becomes a story the listener can feel. That’s the work I’m drawn to: crafting audio that gives space for imagination, emotion and human connection.
What excites me most is the moment when an idea becomes an atmosphere. A piece of dialogue, a fragment of music, a carefully placed sound effect — and suddenly a whole world begins to exist in the listener’s mind. That process of shaping sound, responding to a brief, collaborating with teams and bringing ideas to life for an audience is what keeps drawing me back to audio storytelling — especially when the story being told helps people see, feel or understand something differently.
Production Toolkit & Libraries
Tools used in my workflow includes:
Audio Showreel
This showreel demonstrates narrative sound design, podcast production and broadcast imaging created independently.
Where voice talent was not available, voice models were directed to realise scripts and explore pacing, dialogue flow and scene building.
The focus throughout is storytelling through sound, shaping atmosphere, character and structure.
The Sonic Foundation
Music production, live performance and studio craft shaping an instinct for storytelling through sound.
Trained ear. Emotional intelligence. Two decades working across music, film and production environments.
I began my career in music production and performance, working in studios, rehearsal rooms and live environments where listening closely was essential. Those years trained my ear to recognise how rhythm carries emotion and how subtle sonic details shape the way audiences experience a moment.
I have worked in creative environments alongside producers including Hans Zimmer and Trevor Horn, contributing as part of the wider production team bringing ambitious projects to life. Those environments set a standard for craft, collaboration and attention to detail that continues to inform my work.
Alongside this creative work, leading large scale IT infrastructure projects developed another set of production skills. Complex systems, like complex productions, depend on clear process, strong communication and the ability to remain calm when pressure rises.
Today I bring those instincts into radio, podcast and broadcast production. Compelling audio is not only technically precise. It has rhythm, structure and emotional weight.
It creates images in the listener’s mind.
The theatre of the mind.
Industry Feedback
“Just started listening to your podcast — what a professional job. Great topic, great name and a really polished sound. So impressed.”
BBC Radio Broadcaster · Sony Award-Winning Presenter
"After completing one of our courses, Chris returned to volunteer with us and quickly became a real asset to the team. He’s consistently reliable, always arrives early, and does an outstanding job with audio editing to a very high standard. On top of that, he’s a genuinely lovely person who fits in brilliantly with the team and is a pleasure to work with."
Lee Barnes · Presenter & Senior Academy Lead · Gaydio
“You’ve got the ear.”
Former BBC Radio Managing Editor · Sony Gold Award Winner
The Journey
From brief to broadcast-ready audio.
Listen & Understand
Every project starts with understanding the brief, the audience and the story being told. I work with producers and presenters to clarify what the programme needs to say and how sound can support that. Editorial work has included reviewing youth-produced podcasts (ages 14–18) for a BBC Children in Need funded project delivered by Gaydio, ensuring content met Ofcom broadcast standards and safeguarding guidelines.
Briefing · StrategyWrite the Story
Writing for audio means clarity and pace. I script links, craft introductions and shape narration so ideas land cleanly and the listener always knows where they are in the story. The aim is not to fill space with words, but to guide the audience through the programme with language that feels natural, conversational and true to the presenter’s voice.
Scripting · Creative DirectionCapture & Create
Recording is where the programme takes shape. Interviews, voice tracks and performances are captured with attention to clarity, tone and atmosphere. I then build the sound of the piece through dialogue editing, music, ambience and radio imaging, shaping the emotional rhythm of the story so the listener stays with it.
Recording · Sound Design · ImagingMix & Refine
Craft becomes invisible here. Dialogue, music, and atmosphere are balanced until nothing calls attention to itself — and everything works.
Mixing · Dialogue Edit · Audio PostThe Final Listen
Every programme gets a full editorial and technical listen before delivery. Dialogue clarity, pacing, loudness and compliance are checked so the story lands cleanly and meets broadcast standards.
Editorial Listen · QC · Loudness ComplianceReady for Air
Broadcast-ready files in the format you need, when you need them. No chasing. No revisions. Just done — and done right.
Broadcast Delivery · File Prep · TX ReadySelected Music Work
Production, writing and collaboration credits
Selected Credits
P Performer OA Arranger C Composer T Transcription
| Project | Role | Label / Studio · Project Type |
|---|---|---|
| Counting Crows - Shrek 2 | P | DreamWorks Records · Feature Film OST⭐ Oscar Nominated |
| Seal - Walk On By | OA | Warner Bros Records · Single ⭐ GRAMMY Nominated |
| Hans Zimmer - King Arthur - Moya Brennan | AE | DreamWorks · Feature Film OST |
| Elton John - Mona Lisa Smile | PTE AE | Sony Pictures · Feature Film OST |
| Coyote Ugly (Directors Cut) | PTE AE | Jerry Bruckheimer Films · Feature Film OST |
| Artist / Project | Notes | Role |
|---|---|---|
| Counting Crows – Shrek 2 (OST) | Accidentally In Love — Violin | P |
| Elton John / Macy Gray – Mona Lisa Smile (OST) | In The Heart Of Every Girl / Santa Baby | PTE AE |
| Coyote Ugly (Directors Cut) (OST) | — | PTE AE |
| Hans Zimmer – King Arthur (OST) | End Credits Song feat. Moya Brennan | AE |
| Seal – Seal IV (Album) | Various | P OA AE |
| Seal – Walk On By (Single) | GRAMMY Nominated | OA |
| Robbie Williams / Kylie Minogue – The Magic Roundabout (OST) | Various | PTE AE |
| SugaBabes – Bridget Jones Diary (OST) | Freak Like Me | PTE AE |
| Olympics 2004 – The Olympic Torch Theme (Single) | Pass The Flame | P OA PTE |
| Enrique Iglesias feat. Kelis – Not In Love (Single) | Not In Love | AE |
| Beth Orton – Daybreaker (EP) | Concrete Sky | AE |
| Lisa Stansfield – The Moment (Album) | Various | P OA PTE AE |
| Chris Demetriou / Cavendish Music – Celtic Music (Library) | Amazon Prime: The London Underground Killer | PR |
| Raintown Seers – Love, Lost, Home (Album) | — | PR M PTE OA P |
| Raintown Seers – Start A Fire (Album) | — | PR M PTE OA P |
| Track Dogs – Where To Now? (Album) | Various | P OA |
| Panza – Infanticidio (Single) | Sado | P OA |
| Endless Shame – Generation Blind (Single) | Erase The Beautiful | P OA |
| Jessicas Ghost – Losing Track of Time (Album) | Various | P OA PTE |
| Backwoods Creek – It's About Time (EP) | Various | P OA |
| Steve Young – The Great North Road (EP) | Trembling Heart | P |
| Donna Marie Songs – Shelter (Single) | Shelter | P OA |
| Máiréad, Johnny Brady – If You Loved Me Once (Single) | — | P OA |
| Linen Ray – On The Mend (Single) | Apple Of My Eye | P OA |
| Lazlo Baby – Together For Ukraine (Single) | Shche Sto Hram | M |
| Rachel Adedeji (X Factor) / Phil Ramacon – X Factor | String Session | P |
| Artist / Project | Notes | Role |
|---|---|---|
| Tour Support | ||
| Sharon Corr | O2 Academy | Liverpool, UK |
| Jenn Bostic | Band On The Wall | Manchester, UK |
| Corporate | ||
| Paloma Faith | TalkTalk Corporate | UK |
| Pixie Lott | TalkTalk Corporate | UK |
| Tinchy Stryder | TalkTalk Corporate | UK |
| Noisettes | TalkTalk Corporate | UK |
| Guillemots | TalkTalk Corporate | UK |
| Festival | ||
| Track Dogs | Shrewsbury Folk Festival | Shrewsbury, UK |
| Venue Shows | ||
| Bastille | Mojo Bar | Liverpool, UK |
| James Walsh (Starsailor) | Zanzibar | Liverpool, UK |
| Marcella Detroit (Shakespears Sister) | The Stables | Milton Keynes, UK |
| John Smith | Epstein Theatre | Liverpool, UK |
| Rachel Sage | Jabez Clegg | Manchester, UK |
| Moulettes | Various | York, UK |
Current Work
& Industry Activity
Recent work, training and industry engagement in radio, podcast and audio production.
| Status | Organisation / Project | Role / Activity |
|---|---|---|
| Attended Event | BBC Audio North | Freelancer Talent Pool Networking Event |
| Pending Application | BBC Radio Manchester | Production Apprentice Application · Stage 3 Interview Completed |
| Active Volunteer | Gaydio Academy | Podcast Production · Editor & Mixer · Delivering Gaydio Academy podcast projects |
| Upcoming Volunteer | Gaydio | Broadcast Operations · RCS Zetta Automation, Imaging & Scheduling |
| Active Portfolio | "That'll Be The Tism" | Audio Imaging Producer · Intro, stings, beds and sonic branding |
| Active Training | 344 Academy | Audio Post Production & Sound Design Training · Dialogue Editing, ADR, Foley, SFX and Atmos Mixing |
| Upcoming Event | Radio Academy | Foot In The Door Industry Networking Event · University of Essex |
| In Discussion Volunteer | Bury FM | Creative and Technical Production Support · Discussions in Progress |
| Active Portfolio | CDAUDIO | Radio imaging, original spots and podcast trailers |
Production Focus
- Radio & Podcast Production
- Dialogue Editing & Narrative Audio
- Sound Design & Audio Post Production
Get In Touch
Based in Manchester. Available in London and remotely.
Open to full-time, contract and freelance work.
If you have a project in mind, I'd love to hear from you.