I am a London-based Sound Designer and Production Engineer working in both theatre and live events.

 

I have over fifteen years of experience in the industry, working on projects around the world, including London's West End and the Royal Shakespeare Company.

 

In my work for theatre I have been fortunate enough to collaborate with many award-winning composers including: Will Gregory on King John at the RSC; Anne Dudley on James Dacre's renowned production of The Pope by Anthony McCarten; and Guy Chambers on the world premiere of his musical The Selfish Giant, which played in London's West End. 

 

One of my passions is working with new technology. I'm keen to take on new challenges and to find new ways of approaching a production design, and it's very exciting when developments in the technological sound world influence and help develop my work. I’m particularly interested in the latest advances in VR, Binaural technology and immersive sound, and bringing these features that have been used in film and TV for so long into theatre and live performance.

 

I particularly enjoy immersive and sight-specific projects, as they challenge me to think outside the box regarding design and the technological needs of the production.

 

My recent immersive projects include Fantasia, which used Binaural surround technology on wireless headphones.  I was responsible for recording and editing a 96-piece orchestra for this site-specific show using Bluetooth technology triggers. You can have a listen to the results here.

 

I also designed the Sherlock Holmes Escape Rooms in London. The game had 24 different rooms, each with a surround system of speakers, and each requiring multiple different setups. Each room had hidden speaks in various props and locations, and sounds were triggered depending on how the gameplayers interacted with the set. It was a complex set up, requiring triggering via multiple computers to create a truly immersive experience. 

 

I had the joy of collaborating with the amazing Silent Opera Company on Lament and Vixen ,  making numerous works of opera assessable for anyone in any location. I used wireless headphone technology and computer playback of a fully recorded orchestral score, which I manipulated to make an immersive and a modern take on traditional Opera using modern sounds and instruments mixed in with the original score.

 

I’m always keen to meet new people and develop new projects together – please feel free to get in touch. You can email me mail@ davidgregory.org.uk or via my website www.davidgregory.org.uk

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