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All Types Of Sound

Welcome to my musical haven! Music is my daily meditation: a raw expression of my inner world. Blending Lo-fi, Boom-Bap, Hip-Hop, and experimental sounds, I craft immersive beats that speak without words. Every track reflects emotion, rhythm, and energy, inviting you to vibe, reflect, and escape.

Dive in and experience the sound. 🎵

Who Am I?

At 23, I am a Sydney-based music producer and artist. I’m a passionate and versatile artist with a deep love for music. My creative journey has spanned various roles, from producing beats to composing soundtracks and designing immersive soundscapes.

As a Boom Bap and lo-fi artist, I craft soulful, introspective beats that blend classic hip-hop elements with modern production techniques. My music is characterised by its warm, analog sound and ability to evoke emotion.

Beyond beats, I’m also a dedicated Rap Artist. I use my music as a platform to express vocalist’s thoughts and experiences, allowing them to deliver thought-provoking lyrics with a unique and authentic voice. I have collaborated with Artists such as Ellery James Roberts and an up-and-coming rapper, AD8.

Beyond Music

My work on the short films LEECH and ECHOES spanned multiple facets of audio production, from conceptual sound design to final mastering. Each role I took on was essential in shaping the films’ auditory landscapes, enhancing their narrative depth, and immersing audiences in their worlds.

For LEECH and ECHOES, I handled sound design, recording, composition, creative producing, curation, and sound engineering, shaping each film’s unique sonic identity. In LEECH, I crafted eerie, organic textures and a suspenseful score using detuned piano and dissonant strings, while in ECHOES, I layered ambient drones, reversed samples, and minimalistic piano to evoke memory and distortion. I recorded high-quality dialogue and environmental sounds, curated archival and foley elements, and strategically used silence to enhance storytelling. Through mixing and mastering, I ensured a balanced, immersive audio experience that heightened each film’s emotional and narrative impact.

Listen up.

At 23, I am a Sydney-based music producer and artist. I have crafted a distinctive sound that resonates deeply with listeners. Specializing in Hip-Hop, Boom-Bap, Lo-fi, Experimental, and Synthwave genres, my music serves as a daily meditative practice, reflecting my inner feelings and offering a versatile listening experience.

Tracks like “Equanimity” and “Safire” showcase my ability to blend genres seamlessly, creating immersive soundscapes that invite listeners into my introspective world. Collaborations with artists such as AD8 and @Zachofall_trad3s further enrich my compositions, adding diverse elements to my work.

Engaging with the music provides more than just auditory pleasure; it offers a glimpse into my personal journey and emotional landscape. Each track is a testament to his commitment to authenticity and passion for music as a form of self-expression.

Short Film’s:

LEECH

Director: Gabriel Angulo
Producer: Thanach Thepsataphol, Chris Martin
Actor: Hazel Olivera
Editor: Joshua Honeyman
Sound Designer, Sound Composer, Sound Recordist & Sound Engineer: Darcy Cox (Inspired by Archive 81)
DP: Joshua Honeyman, Ella Blunck, Anton Mirvis
Production Designer: Abigail Aquino
First AD: Jayden Ferreira, Chris Martin
This was a great experience as this was the first short film I sound-edited, composed, and recorded. However, I wish I varied the main melody more, but once I heard it on Archive 81, I couldn’t unhear it in the film. Also, I had more original soundtracks, although the editor decided not to keep these in (this decision was made at the last minute without consultation).
What I learnt:
- Collaborate with the editor closely throughout
- Always monitor audio
- Always set 1 channel to auto for safety (ensure you erase in Post)
- Set 1 channel between -12 & 0dB
- When mixing: overall mix level should be 10dB to -14dB, dialogue -12dB to -15dB, music -18dB to -22dB, & sound effects should be -10dB to -20dB
- Switch off all noise sources
- Consider microphone stands & lavalier microphones
- Record 1min of atmos
https://open.spotify.com/album/4jeHAnCYjj0Yzu6RsMuHwJ?si=L46x1Tb4QOa8ycb9JOhwhg

Director & Writer: Gabriel Angulo
Edited: Joshua Honeyman
Sound Recordist, Sound Composer, Sound Designer, Sound Engineer: Darcy Cox
Producer: Daniel Schouten
DP: Georgina Child
Cast: Amy Brooks as Maya, Alex Bar as Marcus, Maddie Crabtree as cashier, & Aldo Angulo as Man
Makeup Artists: Mata Lioyd Maddie Crabtree
Production Designer: Tien Hong
First AD: Aiden Soo
Assistant Crew: Thanach Thepsataphol
My involvement in the film “ECHOES” was multifaceted, extending beyond my core roles as a guitarist, musical composer, film recordist, and sound designer. I was actively involved in various aspects of the production, contributing to the project’s creative and logistical sides.
Throughout the production process, I consistently created music that aligned with the film’s tone and genre, which shifted numerous times, requiring adaptability and versatility. I infused the movie with a haunting and evocative soundscape that complemented the eerie and melancholic tone. I mainly used a condenser microphone to capture my guitar’s raw and authentic sound, ensuring a live and immersive feel and evoking the film’s tone.
Beyond my creative contributions, I actively participated in the logistical aspects of the production. I provided snacks and refreshments to energise the team, brought my own equipment to ensure a smooth workflow, assisted the 1st AD with equipment, and regularly contacted and worked alongside Gabriel (director) and Josh (Editor). I also took on additional responsibilities, such as operating drones to capture aerial shots, providing scripts to the crew, location scouting, assisting with camera advice for the DP and I transported the child actor to and from set. Additionally, I was punctual, reliable, and on call, often
Furthermore, As a sound designer on “ECHOES,” I encountered several common challenges that required careful attention and creative problem-solving. One significant challenge was maintaining consistent sound quality throughout the production, especially given the less-than-ideal recording conditions with tradesmen and planes causing noise pollution. To address this, I intentionally
distorted the audio for certain scenes, particularly scene two, to create a paradoxical contrast
between the indoor and outdoor soundscapes, reinforcing the film’s VHS aesthetic.
Overall, this multifaceted role was advantageous, and I am proud of the film as a whole. There are still some issues regarding building up the climax and tension due to poor coverage and some lack of knowledge (on my behalf) in building the tension up quickly without being cliché.
The filming of “ECHOES” deepened my understanding of filmmaking, reinforcing my belief in the power of collaboration and the interrelation of sound and image.