Single Opticon

The experience was based around a 6-metre-long 3D map of Scotland, which came to life through a multisensual show.

Upon receiving the sound brief, I went to Scotland to visit several distilleries to understand each phase of whisky production, as well as capture found sounds and soundscapes linked to the different stages of the brief.

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I wanted to combine synthetic instruments with real folk instrumentation and sound design, primarily utilising the glassy tonalities of a Crystal Banchet: My aim was to bring a modern yet authentic element to the experience. The biggest challenge was having to work from moodboards as the visuals were being developed during the same period, so I wasn't working from an edit that I could just synce to the visuals, this proved to be a test of utilising my imagination, as well as my understanding of the specific moods, timings and segways for each part of the 45 minute brief.

The New Orleans Arboretum

I had to compose music for 4 different rooms which interlinked and complimented each other: The pergola, which the guests entered at the very beginning of the installation consisted of a mysterious and slightly abstract soundscape. I wanted to create the illusion that the guests were underground, heading towards the surface of a new world. The guests then went from the Pergola to Paradise. The soundscape in this area had to be completely opposing to the unknown mystery of the pergola. This room acted as a ritualistic space, with shrubs and plants, while the central core was a Grand Marnier tree. I wanted this soundscape to brew into something momentous and triumphant. It consisted of French street instruments such as pan and kettle drums, while also lending to the Caribbean influences of the cognac.

The guests would then enter an elevator. As elevator music can be very stereotypical, I wanted this music to be very French and almost a parody of itself. The guests then entered a waiting room at the top of the building, I wanted to create a soundscape here that was very light and simple. The guests then entered a room called The Temple Of Taste, where a bartender awaited giving the audience a run down of the separate elements of the Cognac. The music was again light and simple to not detract from the event.

The Joy Of Bees

 My job as a 'sonic sommelier' was to compose music that complemented the various tastes and flavours of the honey with research drawn primarily from Charles Spence's crossmodal laboratory at Oxford University. I had to create music that not only fitted the mood, but also fitted the taste.

Utilising high frequency sounds, my aim was to accentuate the sweet tonalities of honey. I had to compose two pieces of music that were both interlinked to create a subtle but seamless experience for the invited guests when walking between the two rooms. One piece was a meloncholic classical track, while the other was a contemporary interpretation of classical music.

I also created a weather system, honeybee inspired soundtrack for the indoor area. The aim of this was to provide a subconscious reminder of the environment, but make it appropriately dysfunctional to reflect the indoor location. This was meant to transport the guest away from the urban scenery.

Mussel Beach

I had to compose and arrange 3 four minute binaural soundscapes using found sounds and recordings that I had captured while visiting the isle of mull. The 1st was of Inverlussa mussel farm, the 2nd recording captured  Mull during the day, and the 3rd was a rain storm timeline. These binaural soundscapes were available to listen to via headphones within the space itself. 

I also had to write a general 10 minute soundscape for the room; This cycled through various weather cycles and environmental ambiences.

James Squire's Edible Biography

The main thread of the brief was to recreate the specific scenario of the storyboard using sound design and soundscsapes and tailoring them towards this 18th century period. From replicating storm at sea sequences to 18th century courtyard soundscapes to a funeral procession, that mourned and then celebrated James Squire's death to the more ethereal soundscapes. The main challenge was making the soundscapes as dense and as authentic as possible, while ensuring that the sonic journey had  continuity. 

Steve Klein's Masters OF PHOTOGRAPHY 

This was a multi sensory event which took place in both Hong Kong & Taipei in collaboration with world renowned photographer Steven Klein. I had to create 3 types of sound design that really encapsulated the concept of time in relation to the making of whisky. I created a time machine whirlwind of sound, using manipulated  pop culture samples of speech, music and synthesis.