I am happy to see a recording project through from start to finish, from creative discussions through sessions, mix, edit and so on. I can also focus on something more specific, and have often edited, mixed or troubleshooting tracks that have already been recorded.

Much like playing, recording is all about aural sensitivity, clear intentions, good communication, and technical understanding. Most performers can describe situations where a tiny miscommunication has had a negative result on how their playing sounds. You're usually in safe hands in large studios, of course. But in other situations — for instance, when budgets and timescales are tight and you don’t know the engineers — results are not always aligned with expectations.

Shared priorities and mutual trust are essential for making effective recordings, and for it to be a creative and liberating experience. As a player who knows what it feels like, I will always bring that empathy to any recording project.

—

I got involved with recording because knowing more about the technical side of the process makes me more comfortable in sessions, and so I can play better without worrying.

I now work with audio in a few ways: mixing and fixing, on location recording, livestreams, remote sessions, and so on. I specialise in small ensembles, because it's what I know most about as a player.

In an ideal world recording is a genuinely collaborative process. If everyone understands what it's like to make the music, that can help things to go more smoothly. I certainly know I've found working with a sound engineer who shares a playing background can be a source of confidence.