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Smokie, Live Wire AC/DC, Stiff Little Fingers,
Donnie Munro Band, Guns 2 Roses

Ironworks Venue, Inverness, Highland

Monitor Engineer

I had the opportunity to return to work at the Ironworks after graduating from university. 


Declan Welsh, Definitely Oasis, Cuban Brothers

Ironworks Venue, Inverness, Highland

Front of House Engineer

These performances were when the venue was converted in half the capacity. I would have to create a patch list as well as organise and execute the sound check with all the artists


This was my first time working Front of House in a large venue..

The Green Room & The Twa Tams

Perth, Scotland

Front of House Engineer

At these small Perth based pubs, I would frequently work with a lot of local musicians and the occasional touring acts. Due to the venues being relatively small, I would always have to be mindful of the sound level while also creating a sound the act, audience and bar staff would enjoy.


Food In The Park

Blair Atholl, Perthshire

Front of House Engineer

This particular venue is based within a tent and only open during the summer months. Working here, I had to ensure the acts and audience enjoyed themselves while making sure that the sound level did not exceed 85dB, due to council regulations

The Royal Edinburgh Military Tattoo

Edinburgh Castle, Edinburgh

Sound No 3

Sound Designer: Sebastian Frost

Working as a part of a team of 9, my main role was to communicate with the musicians and performers that myself and the team were mic'ing them up for the performance. I would walk the length of the castle esplanade making sure that the correct people were wearing the correct microphone or TiMax tracker and would communicate with the rest of the team if any issues arose.


Beauty and The Beast

King's Theatre, Edinburgh

Sound No 2

Sound Designer: Richard Brooker

Working as a Sound 2, I would work predominately on stage during the performance ensuring that the radio microphones on the actors were all functioning correctly. I would also have to act quickly and quietly when problems arose, either on stage or in the orchestra pit, and communicate with the Sound 1 in order to solve the issue efficiently. I also worked closely with the actors and musicians in order to make them feel comfortable while performing.

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