LIST OF OTHER PROJECTS FOR BIG FINISH PRODUCTIONS
This is a comprehensive look at my other projects for Big Finish Productions.
Clicking on the cover for each release will take you to the relevant information and trailer (if available) on the Big Finish site. Clicking on the [REVIEW] link will take you to a page with snippets of reviews from around the web. Clicking ‘Back to List’’ from the review will send you back to the relevant release on this page.
Alternatively Read all Reviews.
I have tried to make some meaningful comments, but generally my brain does not hoard information of past projects too well. Go to the Samples page for example music from some of these productions.
QUICK LINKS: Sarah Jane Smith | I, Davros | Sapphire & Steel | 2000 AD
SARAH JANE SMITH
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| SARAH JANE SMITH - SERIES 2 [JAN - APR 2006] |
| THEME TUNE | EDITING | SOUND DESIGN | MUSIC | CD MASTERING |
| I loved the 1st series, so when John Ainsworth asked me to do the second, I had no hesitation in saying yes, especially when he told me the direction they were taking it. Plus I really enjoy working with John. I must name drop and mention that I went to the recording on this and Elisabeth Sladen is so nice and is still Sarah Jane to me. The first thing I had to tackle was a new Theme tune that John requested. I nailed it on the first attempt, which was a relief, just the sort of thing he wanted. You can hear the full extended version on the Samples page. I would have liked to have done all of the dialogue editing together, then all the Sound Design and then the music, but the timing of it didn’t allow, so it was basically done one at a time. Which in hindsight, was definitely better, as I would have probably gone mad without writing music to give me a break. For the music I stuck to the same instruments and a similar feel of the Theme for Buried Secrets, and then gradually changed instruments as I went though the other three, getting more intense along the way. There were recurring parts throughout, such as the choirs when the Crimson Chapter are about or mentioned, and the overall feel is kept throughout. Of course it always helps to have great stories, and David Bishop did a brilliant job here! |
| [REVIEWS] |
I, DAVROS
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| I, DAVROS: 4 PART MINI-SERIES [SEP - DEC 2006] |
| INTRO TUNE | EDITING | SOUND DESIGN | MUSIC | CD MASTERING |
| Almost following straight on from working on Sarah Jane Smith, I was asked by Gary to work on 'I, Davros'. I was a little wary that it would mean no Doctor Who for over a year in total, but what the heck it’s Davros!! I also thought it was a great idea to tell his back story and thought it had great potential. It wasn't without it’s hurdles working on this, due to delays for one reason or another and other things like my Daughter having her appendix out. But I got there in the end. The journey for me always starts with the scripts, which came as one, but due to time constraints I didn’t red them all at once, so I was kept in some sort of suspense as I went along. It’s then the long journey of finding the right sound effects, which I always find one of the most interesting bits. I attended the 3rd & 4th days of the recording, which is always a delight - even more so here, as there was so many people all wishing to see Gary Russell do it one last time. During the recording I chatted with Gary about how he wanted it all to sound, and he knew straight away that it had to sound like ‘Genesis of the Daleks’, particularly the last Episode which takes place about 2 years prior to the TV story. Then he threw in that he wanted even the music to be similar, with that Dudley Simpson feel - I though ‘cool, I get to do cheesy 70’s music!’. But of course it’s not cheesy, it’s very clever as I found out after bagging myself a copy of Genesis and sitting down to take notes - how many people could say they were paid to watch Doctor Who! Upon first refreshing my memory I panicked somewhat, thinking I’d never be able to pull it off. However, comments over the 1st couple of plays lead me to believe I did. And what fun it was too - armed with mainly a Bass Clarinet, a Xylophone and some Brass, off I went on a great journey creating music like I’d never done before. It was important for the sound to match in as well, so recreation of various effects are used, as well as some home made ones courtesy of some 70’s analogue synthesis. Overall, this has probably been the most challenging series to date for me, but I am ultimately happy with the results, as is Gary and the those who have listened think so too, which is of course the most important bit! A final note on the Theme tune, that isn’t really a Theme, more of an Intro; and the reason for that? Gary started out by not wanting a Theme at all, but I convinced him that it’s a good idea to give a clear start and finish, and so we comprised on a 'Lost' type sting, which ended up a little longer than a sting. |
| [REVIEWS] |
SAPPHIRE & STEEL
 | DEAD MAN WALKING [SEP 2005] |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| This made a nice change from Doctor Who. Another programme that I used to watch as a kid, so was pleased to be doing this. A bit of a gory one in places, so much so, that at one point I felt ill whilst doing the Sound Design. It’s always nice though to be able to do the weird echoing stuff with lots of reverb and delay! I remember being scared as a child watching it, so I wanted to make the music scary, I hope I succeeded! |
| THE SUREST POISON [SEP 2006] |  |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| Nice to get my teeth in to a double CD of Sapphire & Steel. As I say, it's always fun coming up with the weird sounds, and Sapphire & Steel seem to lend themselves to those quite a bit, as did this play. The locations in this were quite diverse as well, including spooky grave yard. |
 | PERFECT DAY [MAR 2007] |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| I struggled a little to start with on this, due to me never having been on a boat (well not like this), so wasn’t really sure how it should all sound. But with guidance I got there in the end. Although it was tricky to keep the background interesting with it all being on the boat! Lovely to edit Mark Gatis as 'Gold' as well, what a great voice he has for audio. |
2000 AD
| WAR PLANET [SEP 2003] |  |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| I’ll make a comment on this, as it was the first ever Audio release that I worked on, and it was certainly a good one to cut my teeth on! Explosions, Sc-fi & Spaceships galore. After this everything seemed to get easier. It certainly took me quite a while to do, and I hadn't got my 'system' going back then. [REVIEWS] |
 | JIHAD [MAR 2004] |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| James Swallow and his big explosions again! I was particularly concerned about doing a dual with staff weapons on top of an airship on audio! But, it turned out very good I think. I believe John even used it at a talk to prove that fight scenes could be done on Audio. You can hear a scene from 'Jihad' on the sample page. [REVIEWS] |
| FOR KING AND COUNTRY [JUN 2004] |  |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
 | PRE-EMPTIVE REVENGE [SEP 2004] |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | |
| I must mention the recording of this one. To see Toby Longworth and Simon Pegg working together was a delight. Even in between takes, they had me in stitches; they just wouldn’t let up. What lovely people. |
| GRUD IS DEAD [OCT 2004] |  |
| MUSIC | CD MASTERING | |
| This was a first for me, just getting the Sound Edited version to write the music to. I could get used to it. |
 | SOLO [DEC 2004] |
| EDITING | SOUND DESIGN | MUSIC | CD MASTERING | VIDEO EDITING | |
| Sniff! The final 2000AD / Judge Dredd audio, and how very fitting that the voice of Dredd himself, Toby Longworth, should voice ALL of the characters. That made it tough to edit. I also filmed the recording and edited it down dubbing in the actual recorded voices. This was then included on the CD as a bonus item. I do miss these dearly, and it's a shame they had to stop. |