The name of the game over these last few months has been building and rounding out the Back Pocket Sound SFX library. As of writing this I'm at 784 sounds. The video content has been a great way to keep me motivated and take a little extra care and thought into the things I record.

Furthermore, the videos help me document my efforts, and go through greater lengths getting the recordings. They're helping contextualize the recordings I share. I've found great joy connecting with a new audience via sound communities on Reddit.

I work in post-sound, and I've had the privilege of using Back Pocket Sound SFX in various commercials, TV shows, and films over the last couple years. It really is the best feeling when a sound you recorded works well in a project, and it makes the client happy knowing they're getting an authentic product in their sound design.

If you're a sound designer, field recordist, student, or audio enthusiast and you've made it this far, I'd like to connect. Feel free to shoot me an email through my contact page, and I'll send you some sounds. You can also check out the Free SFX page on my site for over 10GB of free downloads. Hope they help you as much as they've helped me.

Till next time.


Hey friends. Here's an update:

I started a Youtube channel. Here's my first video:

The goal is to contextualize the sounds I share, reach a new audience, and document my sound recording adventures. This video was from a trip to Sauble Beach this summer. I found a quiet spot on the beach, and recorded for 45 minutes.

I was really happy with how isolated and clear the Lake Huron recordings turned out. I was able to capture four perspectives this particular evening. They're all free to download here: https://bit.ly/2F7QGcc

Here's another video:

Seldom do I wake up with a morning to myself, but this Sunday in September I was in that very situation, so I decided to get out and follow some sounds. Before I knew it I was setting up my gear on the side of these train tracks.

In the moment the sound took my breath away. Such a powerful force just a few feet away from me, amplified through my headphones. It was exhilarating.

It was also one of the first proper recordings captured on my new handheld recorder:

The Sony PCM D100 has taken things to a new level. The preamps and converters are fantastic, and 192kHz recording brings a depth to my samples that makes every recording feel important. It has done nothing but accelerate my love for field recording and documenting the sounds of the world. Here are some more samples I've captured recently with this new recorder:

There's more to say but I'll leave it for another day. Thanks for listening.


Sometimes a little blind commitment will take you places you never thought you'd go.

Admittedly my trained audio experience lies in the studio, and as passionate as I feel about field recording, I've been figuring a lot of it out as I go. This working model was exemplified when I pulled into Ohsweken Speedway with a duffle bag full of new recording gear, and a pit in my stomach.

Some context... Recently I'd been hired to do audio work for a new APTN TV Doc Series called Friday Night Thunder. The show follows a dirt-racing league through the perspective of 6 promising drivers out of Ohsweken Speedway.

It's going to be a great show. Check out their FB page:


As you can imagine, these vehicles have a unique sound and to the show's production company, authenticity was imperative. The sound team at Eggplant decided we would benefit from getting out to the track and doing some recording. With five days of vehicular recording under my belt, I had some confidence and volunteered my services.

Here's the thing... the trucks and SUV's I've been recording have been slow moving, large-scale vehicles with mounting points, and comfortable backseats for me to record/mix from.

On the contrary these Sprinter cars are small and well... very fast.

It quickly became apparent I was not going to be able to join Glenn in the car, meaning both the microphones, and the recorder had to be mounted to the vehicle, and left in record the entire time. Yikes.

Well we were there. And we had a job to do. I clamped a Zoom H6 to the front of the Sprinter Car, and taped two DPAs to the side and back and set my preamps as low as they could go. Had a Zoom H5 on the sidelines, and watched 3000$ in recording gear fly around a dirt track at 150KM/hour.

All in all, things went pretty well. Everything sounded good, the team was happy, and my gear only took some minor damages. (Everything still works.) I consider myself lucky, but I don't take it for granted. Every shoot's a learning experience, this one more-so than others. This gig's challenges inspired me to make some new Back Pocket Sound investments... but that's another blog post. ;)

Till next time,


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