Recording engineer · Producer · Educator
I record and mix orchestral music, film scores and albums across Asia and Australia.
My credits include Claude Lelouch's Chacun sa vie, the Wong Kar-wai-produced See You Tomorrow, Netflix's Chef's Table and releases on Decca. I also design teaching studios, train engineers and produce audio for academic research.
Based in the Blue Mountains, Australia · Working internationally
Much of this work was recorded during my time as Chief Sound Engineer at Studio28 Bangkok. The Jay Kaufman-designed complex has a 375 m² orchestral room, where I ran sessions with up to 100 musicians, often for several composers in a day.
Recordings and mixes from film scores, albums and live shows. Each clip shows my role on screen.
JC-01 · 2017
Recorded and mixed the orchestra and big band for Claude Lelouch's 2017 film, with composer Laurent Couson.
JC-02 · 2016
Recorded Nathaniel Méchaly's orchestral score for the Wong Kar-wai-produced film, nominated for Best Original Score at the Hong Kong Film Awards.
JC-03 · 2016
Orchestral recording for the Netflix series, with composer Duncan Thum.
JC-04 · 2019
Recorded and mixed the orchestral parts for Laurent Couson's album, first released by Universal Production Music and later reissued by Decca.
JC-05 · 2016
FOH orchestral mix for Bodyslam with orchestra, plus recording and mixing the concert's teaser trailer music.
JC-06 · 2018
FOH orchestral mix at Impact Arena, Bangkok (12,000 capacity), and recording, mixing and mastering Karn Way La for Genie Records.
43 credits, grouped by category and ordered by year. Watch sessions at Studio28 or listen to my Apple Music playlist.
| No. | Year | Work | Role | For | Link |
|---|---|---|---|---|---|
| A01 | 2023 | Acoustic Access to Knowledge | Sound editing and mixing | Bonus episode of Real Is Not Real Enough | Listen: Acoustic Access to Knowledge |
| A02 | 2021 | Real Is Not Real Enough | Sound design and mixing | Audio drama podcast adapting Günther Anders' Hollywood diary; 22 episodes | Apple Podcasts: Real Is Not Real Enough |
| A03 | 2019 | Petta | Orchestral score recording | Tamil feature; composer Anirudh Ravichander; Sony Music India | Apple Music: PettaSpotify: Petta |
| A04 | 2018 | In Family We Trust | Orchestral recording, co-engineer | Nadao Bangkok series; composer Terdsak Janpan | |
| A05 | 2017 | Chacun sa vie | Orchestra and big band recording and mix | Claude Lelouch film; composer Laurent Couson | Apple Music: Chacun sa vieSpotify: Chacun sa vie |
| A06 | 2017 | Sri Ayodhaya | Orchestral recording and mix | TrueVisions series; theme nominated at the Asian Television Awards | |
| A07 | 2016–18 | SIRIVANNAVARI | Orchestral recording | Fashion-show music by HRH Princess Sirivannavari; Royal Bangkok Symphony Orchestra; recorded at Studio28 | |
| A08 | 2016 | Blood Is Life | Engineer | Theme from the stage show Dracula; conducted by Laurent Couson; Ewing Entertainment; mastered at Abbey Road | Apple Music: Blood Is LifeSpotify: Blood Is Life |
| A09 | 2016 | See You Tomorrow | Orchestral recording | Produced by Wong Kar-wai; composer Nathaniel Méchaly; Best Original Score nominee, Hong Kong Film Awards | |
| A10 | 2016 | Chef's Table | Orchestral recording | Netflix; composer Duncan Thum | |
| A11 | 2016 | Midnight Sun | Recording | SVT / Canal+ series; composer Nathaniel Méchaly | Apple Music: Midnight SunSpotify: Midnight Sun |
| A12 | 2016 | Thai National Anthem | Recording and mix | Major Cineplex; arranged by Trisdee na Patalung | |
| A13 | 2016–17 | Huawei, GQ, Acuvue | Mix, mastering and sound design | Television commercials |
| No. | Year | Work | Role | For | Link |
|---|---|---|---|---|---|
| B01 | 2022 | Light Rain | Recording and mixing | Lachlan Skipworth; from Chamber Works Vol. II | Apple Music: Light RainSpotify: Light RainBandcamp: Light Rain |
| B02 | 2021 | Bliss of Heaven | Mixing and editing | Daniel Rojas and the Baldini Quartet; Da Vinci Classics | Apple Music: Bliss of HeavenSpotify: Bliss of HeavenDiscogs: Bliss of Heaven |
| B03 | 2020 | Quotation of Queries | Recording, mixing and mastering | Cantoría Hong Kong, conducted by John Winzenburg; Navona Records | Apple Music: Quotation of QueriesSpotify: Quotation of Queries |
| B04 | 2019 | Electro Symphonic Project | Orchestral recording and orchestra mix | Laurent Couson with the South Asia Symphony Orchestra; Decca (first issued 2017 by Universal Production Music) | Apple Music: Electro Symphonic ProjectSpotify: Electro Symphonic ProjectDiscogs: Electro Symphonic Project |
| B05 | 2019 | My Ghost | Sound engineer, jointly credited | STOIC | Apple Music: My GhostBandcamp: My Ghost |
| B06 | 2019 | วิวรณ์ (Revelation) | Mixing | STOIC; from the album t | Apple Music: วิวรณ์ (Revelation)Bandcamp: วิวรณ์ (Revelation) |
| B07 | 2018 | Discovery HiFi Prologue 01 | Chief engineer | Kent Poon; audiophile acoustic jazz, recorded at Studio28 | Read: Discovery HiFi Prologue 01 |
| B08 | 2018 | Aaya Na Tu | Recording engineer, Studio28 sessions | Arjun Kanungo and Momina Mustehsan; with sessions in India and Pakistan | Apple Music: Aaya Na TuSpotify: Aaya Na Tu |
| B09 | 2018 | Same but Different | Recording and mix | Zhan Xiao-Li; Sony China | Apple Music: Same but Different |
| B10 | 2018 | You See (看见) | Mixing (four tracks), vocal recording and mastering | Sarah Cheng-De Winne; Mandarin album | |
| B11 | 2018 | 18+ | Recording and mix | Chanudom featuring Da Endorphine; single, What The Duck | Apple Music: 18+Spotify: 18+ |
| B12 | 2017 | Italian Cinema | Orchestral recording | Laurent Couson's tracks; Koka / Universal Production Music | |
| B13 | 2016 | Karn Way La | Recording, mixing and mastering | Cocktail; Genie Records | Apple Music: Karn Way LaSpotify: Karn Way La |
| B14 | 2016 | Space Run | Orchestral recording | Laurent Couson's tracks; Koka / Universal Production Music |
| No. | Year | Work | Role | For | Link |
|---|---|---|---|---|---|
| C01 | 2016 | Inland Sea | Instrument recording, with Matt McGuigan | Marcus Whale | Apple Music: Inland SeaSpotify: Inland SeaBandcamp: Inland Sea |
| C02 | 2015 | The Topography of Ascending Frameworks | Mastering, with Stuart James | Cycle~ 440; Hospital Hill | Bandcamp: The Topography of Ascending Frameworks |
| C03 | 2014 | Seven Stations (In Any Order) | Recording and mastering, with Matt McGuigan; mixing | Andrew Batt-Rawden and Chris Mansell; Hospital Hill | Discogs: Seven Stations (In Any Order) |
| C04 | 2014 | Not Music Yet | Recording (with Matt McGuigan), mixing and mastering | Zubin Kanga; Hospital Hill | Discogs: Not Music Yet |
| C05 | 2014 | Fabric Cordial | Recording (with Matt McGuigan) and mastering | Bud Petal; Hospital Hill | Discogs: Fabric Cordial |
| C06 | 2014 | Sideband | Recording of “Modulations”, with Matt McGuigan | Sideband; Wirripang | Discogs: Sideband |
| C07 | 2013 | Kookaburra | Recording, with Matt McGuigan | Merzbow; Hospital Hill | Discogs: Kookaburra |
| C08 | 2013 | Cat's Squirrel | Recording, with Matt McGuigan | Merzbow and Oren Ambarchi; Hospital Hill (LP on Black Truffle) | Apple Music: Cat's SquirrelDiscogs: Cat's Squirrel |
| C09 | 2013 | QUEST | Recording, with Matt McGuigan | DirtyFeet and Chronology Arts | Review: QUEST |
| C10 | 2010 | Xià Sichuān (下四川) | Recording, with Matt McGuigan | The Song Company |
| No. | Year | Work | Role | For | Link |
|---|---|---|---|---|---|
| D01 | 2018 | Cocktail at Impact Arena | FOH orchestral mix | Bangkok; 12,000 capacity | |
| D02 | 2018 | Little Shop of Horrors | Sound designer | Selladoor; M-Theatre Bangkok | |
| D03 | 2016 | Grandslam Live | FOH orchestral mix; recording and mixing of the teaser trailer music | Bodyslam with orchestra; GMM Live House, Bangkok | |
| D04 | 2014 | Mayakovsky | FOH engineer | Sydney Chamber Opera; Carriageworks |
| No. | Year | Work | Role | For | Link |
|---|---|---|---|---|---|
| E01 | 2026 | Real-time virtual news sets | Technical lead: design, specification and installation | University of Sydney journalism studio; Unreal Engine and NVIDIA Mosaic | |
| E02 | 2026 | Video-podcast studio | Technical lead: design, specification and installation | University of Sydney; three PTZ cameras linked over Dante AV Ultra and NDI |
No credits match that search.
Orchestral sessions at Studio28 Bangkok, arena and concert shows, and the University of Sydney studios I run today.
Academic work that uses sound as a form of scholarship.
Listen to the sonic conclusion Publication record
Wolfenden, H., Craig, J., Nickl, B., & Rolfe, M. (2024). Conclusion: Why humour? Why AI? And what is a sonic conclusion? In B. Nickl & M. Rolfe (Eds.), Moral dimensions of humour: Essays on humans, heroes and monsters. Tampere University Press. https://doi.org/10.61201/tup.896.c1361
Training engineers, students and academics, from studio operation to independent production.
Since 2019 I've been Senior Digital Technology Officer – Studio Coordinator in the Faculty of Arts and Social Sciences at the University of Sydney, where I coordinate the media studios and lead the technical team day to day.
I train and coach the university's Digital Technology Officers to run productions independently. Cross-training and documented procedures help each officer cover the others.
I helped establish technical consultations for student production projects. I also induct and train students and staff in studios serving more than 750 audio and nearly 500 video-production enrolments each year.
I help academics and staff produce content independently, and direct their productions in the FASS Media Room: recorded lectures, livestreams, podcasts, panels and remote interviews over Zoom, 50–80 a year.
I developed a team of 4–8 engineers and ran an internship programme with at least ten participants each year; three interns went on to join the staff. I also operated the console for Chris Lord-Alge's workshop.
I design and commission studios for teaching and research, from equipment specifications and installation to operating procedures and software.
Co-designed a reconfigurable spatial audio system running Flux SPAT Revolution, and a portable listening system for class soundwalks.
Led the design, specification and installation of real-time virtual news sets and a three-camera video-podcast studio at the University of Sydney.
Unreal Engine · NVIDIA Mosaic · Dante AV Ultra · NDI
I build the tools the studios run on: a cabling, routing and asset platform, an NDI multiviewer and a QLab show timer.
I document studio configurations, operating procedures and system diagrams so any officer can run any room, and students and staff can work independently.
I've made short films, travel films and multicamera concert recordings since 2009, handling filming, directing, colour grading and sound. I take on film, event and wedding commissions in the Blue Mountains and Sydney.
I've spent more than 15 years recording, mixing and producing orchestral, film, album and live work in Asia and Australia. As Chief Sound Engineer at Studio28 Bangkok, I ran sessions for film composers, international labels and artists, and led a team of engineers and interns.
At the University of Sydney I coordinate the Faculty of Arts and Social Sciences' media studios and lead the technical team day to day. I produce media with academics, train students and staff, and specify and fit out new studios.
I hold a Master of Music in Creative Sound Production from the Sydney Conservatorium of Music and trained in audio engineering at The Banff Centre in Canada. I'm based in the Blue Mountains and work internationally.
For recording, mixing, mastering, workshops and residencies, research collaborations or filmmaking, tell me what you're planning. I'll reply within two working days.
