My audio adventure starts back in 2009 when I enrolled in the Music and Computer Science from the University of Victoria in Victoria, BC. During my degree, I explored a variety of audio aspects from music theory to recording to computer programming, HCI, and MIR. Some notable projects included developing an artificial soundstage with adjustable parameters in MaxMSP, exploring the impact of visuals on audio quality perception, and creating an Undergraduate Research Scholarship project investigating and recreating historical methods of synthetic sound in film. Outside of classes, I worked behind the scenes at CFUV 101.9 as a podcast editor, promo producer, and head sound tech for the show “Basement Closet Sessions”. I also engaged with many talented artists as a recording technician work study for the University of Victoria’s School of Music. Following my undergraduate studies, I moved to Vancouver where I found work in post production at The Mix Room, and in audio visual at Simon Fraser University.
In 2016, I moved to Stavanger, Norway to participate in their postbacc program in Music Recording. In conjunction with Sonovo Mastering, I was involved in exploring and researching immersive audio formats including the effects of recording using a spaced coincident pair vs a spaced AB cube as well as exploring creating immersive recordings of non-classical music. In March, I moved to Mol, Belgium, where I completed a three month internship at Galaxy Studios. At Galaxy I worked closing with the Auro 3D format for film and music and learned more about immersive audio workflows. In 2018 I returned to the west coast, where I worked on the Augmented-Reality game Marvel’s Dimension of Heroes at Archiact VR. Currently, I work at Relic Entertainment on their core tech team and continue to freelance on the side.
This website is named after my late best furry friend, Tigger, who pasted away curled up on his favourite blanket next to a warm fire on January 1, 2017 at the age of 21 (or 100 in cat years). Always a great assistant, he made sure the 20-64kHz range of my mixes was on point, and is deeply missed.