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REDESIGN The riveting bout between Mohammad Ali and George Foreman is reimagined audibly, with focus shifted towards what the audience hears through Foreman after Ali’s final blow to him nearly rends him unconscious. His ears ring; his heart races before slowing down greatly; we hear his flesh squish and his bones crunch; and the echoing, distorted shouts from the referee, the commentator, and the crowd, giving perspective on the other layer of this seemingly one-sided fight. Integral sounds created include the boxing glove punches (made from combining punching a sofa with smacking a gardening glove on a kitchen countertop), Foreman’s flesh and bone (from snapping a long wooden plank combined with squishing an orange and watermelon together), the tinnitus and bell ringing (combining a high-pass EQ filter to filter the background sounds out, with several test oscillators on high-wet reverb to add an unpleasant-sounding echo and resonance) and the thunderclap near the end (designed in Logic Pro X from a practical thunder machine, shaking a large metal sheet, and adding a lot of overdrive and wavy reverb). Working within my limitations also payed off with the audience sounds - just try not to let their symbolic chants distract you from the experience! https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/7aa53200-407b-4615-9baf-b13a4d94722c/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/7aa53200-407b-4615-9baf-b13a4d94722c/thumbnail All Videos CHOPPING MALL (1986) - “Allison vs. Protector”. REDESIGN By far the most ambitious and unique project I have worked on to date, in terms of scope, soundscapes, and even ADR and dialogue. As low-profile as Chopping Mall was when first released, it still reels in its cult fans thanks to its memorable Protector (or Killbot) noises and voice lines, which were some of our favourite things to recreate the sounds for. The original scene had a synth-driven soundtrack which played loudly over the sound effects and dialogue, removing most of the tension that could have been established in this scene - and that’s why I chose to redesign its audio. Beds and details were simple, only using a basement, boiler room and animal sanctuary to reflect the environments of the mall, the pet store, and the paint shop. The Protector itself had its motors designed by combining an electric toothrbush and razor together, with ‘speed-up’ and ‘slow down’ fades tacked on to the starts and ends of each recording to show the Protector’s relative acceleration/deceleration. Its treads, meanwhile, were designed by sliding a Hot Wheels car across both a flat surface, and a carpet, then increasing the volume and pitching it down to represent its weight. The very same processing, EQing and reverb effects were done for the robot’s servo, body and head movements, only to the recording of a Nintendo Switch fan at different pitches! Elsewhere, the explosion was designed using several Alchemy/ES2 patches with a LOT of overdrive distortion, and the Protector’s short-circuiting from rapidly changing the frequency and intensity of a test oscillator, along with its flanger and phaser. “Exterminated!” https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e1effef6-8afd-413d-bddd-13ef123fd439/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e1effef6-8afd-413d-bddd-13ef123fd439/thumbnail All Videos THE EMPIRE STRIKES BACK (1980) - “Tie Fighter Explosion”. REDESIGN An early project to test the Doppler Effect (where the frequency and amplitude of a moving object changes depending on its relative position to oneself). The explosion was made from the exact same patches used in Chopping Mall, albeit with increased distortion and reverb distance & wetness for greater impact. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b8d6ded3-813b-4376-9836-cd6a43d03a9c/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b8d6ded3-813b-4376-9836-cd6a43d03a9c/thumbnail All Videos HOW TO LIVE WITH A NEUROTIC DOG (1963) - “Training the Neurotic Dog”. REDESIGN #1 This satirical cartoon short, which sarcastically examines how dogs are more superior and calmer about life than us humans, makes use of two different sets of ambience beds and details, where the dog and his master are in the ‘park’. This scene is more realistic and calmer, with fewer sounds to accommodate a smaller park near a busy road… https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/9eadceb2-8195-4a15-896b-11bbc7382746/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/9eadceb2-8195-4a15-896b-11bbc7382746/thumbnail All Videos KRAMPUS (2015) - “Beth’s Demise”. REDESIGN An example of where, personally, the subjective realism strengths shine through the most here, largely owing to how many different layers were originally required to give Krampus and his jack-in-the-box demon their feature-distinctive sounds. Krampus’s features consisted of his chains, hooves (including their impact in the snow - or foliage, from real recording tools) snorting (made from pitch-shifting several recordings of a brush quickly stroking against a microphone muffler), and croaks, growls and roars (mostly Quick Samples from a door creaking). Many textural reverbs were also used to give a beastly, otherwordly sound to Krampus’s guttural vocal tones. Said tones, along with those of the JITB demon, were given intense overdrive and around 5-6 seconds of ‘Long City Street’ reverb. The JITB demon’s sounds morphed from a high-pitched actress’s cooing, to a loud, distorted, echoey growl, and presently to a deafening, screechy roar as it lurched towards Beth, whose scream echoes with the roar as the scene cuts to black. This, combined with the instance of silence between Krampus’s departure and the JITB appearing, elevates the tension to a cliffhanger-like conclusion after raising a lot of suspense beforehand. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e1420da4-5510-4416-ad5b-f0b67619207a/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e1420da4-5510-4416-ad5b-f0b67619207a/thumbnail All Videos THE TRIPLETS OF BELLEVILLE (2003) - “Dinner”. REDESIGN The chaos, anxiety and anticipation of grub, through the eyes and ears of a dog. Need we say more? https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b1d4ea17-746b-45c1-8286-39422529667a/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b1d4ea17-746b-45c1-8286-39422529667a/thumbnail All Videos BBC One (2021, 2022-) - “Farmland Idents”. REDESIGN This short compilation of (incomplete) identities was one of the first times I tried engaging with multiple soundscapes, and transitioning between them in unexpected ways using textural spatial reverb presets. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/6ea0edb1-1894-42be-9657-22b1a7021330/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/6ea0edb1-1894-42be-9657-22b1a7021330/thumbnail All Videos DELTA FORCE 2 (1990) - “Gen. Taylor’s Onslaught”. REDESIGN Cinema loves a helicopter scene. And this movie is fuelled by them. Redesigning the chopper sounds as it moved along with, towards and away from the camera, proved a challenge, a discovery and a joy for me. Chopper components comprised of the blades (designed using a ‘Hard Detuned Saws’ Alchemy patch, set to an immediate attack, and minimal decay, sustain and release times to make the ‘thump’ sounds brief. An AutoFilter was then added at high frequency to make the same pitch(es) repeat endlessly. Other chopper sounds include the motors, designed from a hoover engine at low-pitch, the smaller propellers and winds (made by spraying several aersols into a fast-moving fan), and the ‘Doppler whoosh’, as it moves towards and over the camera (its frequency/pitch decreases by modulating the cents, then semitones, of a pitch-shifter). As with the chopper noises, the machine guns and their bullet ricochets were tricky to successfully implement into the soundscape. After slapping a phone book onto a hard surface and editing the recording, so only the hard, loud thump is audible, the noise was combined with a Test Oscilator ‘thump’ for the guns’ body, and the whoosh of a thin kendo stick for the bullets’ ricochet off of grass, walls and humans. Speaking of which… the blood splat was in fact a rapid pour of water from the tap. General Olmedo’s telephone was made with a ‘Synthetic Tines’ Alchemy plugin, Arpeggiated to continuously alternate between the same two pitches, and the tinnitus one of the soldiers experiences as they are under fire from an ‘Intense Motion’ flanger reverb, effectively slowing the audio down with the film. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e72f2314-1865-4809-a079-e7edf7150047/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/e72f2314-1865-4809-a079-e7edf7150047/thumbnail All Videos FALLOUT 4 (2015) - “Opening Demo”. REDESIGN Another early project which let me experiment with what a post-apocalyptic environment would sound like, particularly with its eerie ambiences and gunfire in the background, creaking rusted windmills, and firearms - the latter whose sounds are a vital sign of self-defense in this game. While the machine guns use the same ‘thud’ and ‘muzzle blast’ sounds as before, the standout sounds include the guns cocking and reloading, designed from several pitched-down stapler clicks, and their bullet shells clinking on the hard surface, achieved by dropping some nails, screws and keychains on a hard floor. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/87465559-df19-4091-a482-a7b1275cefe6/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/87465559-df19-4091-a482-a7b1275cefe6/thumbnail All Videos HOW TO LIVE WITH A NEUROTIC DOG (1963) - “Training the Neurotic Dog”. REDESIGN #2 …and in this clip, which sounds more cartoonish, which implies a park somewhere in a big, busy city. Note the more exaggerated pitches of the dog and his master, and the ‘whoosh’ sounds of the bone being thrown, designed from the rapid spinning of a kendo stick. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/666e8d4d-c8af-4d41-b38b-bc7cf1881d0f/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/666e8d4d-c8af-4d41-b38b-bc7cf1881d0f/thumbnail All Videos SPACE WEATHER (Year Unknown; Possibly Public Domain). REDESIGN One of my first experiences dabbling in subjective realism, involving the combination, layering and textural reverb processing of several library sounds to recreate the noise of a spacecraft leaving its dock, taking off into orbit. Note the use of silence near the end, save for the brief distortion of space-time itself, as the craft crosses over into… ? https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/ada948f1-e7ef-4ade-b127-9c21b67f3515/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/ada948f1-e7ef-4ade-b127-9c21b67f3515/thumbnail All Videos THE TRIPLETS OF BELLEVILLE (2003) - “Bruno’s Nightmare”. REDESIGN A masterpiece of subjectively distorting reality as we enter Bruno’s psyche. Living by the side of a railroad track and getting the urge to bark at trains which come through every night would be the only logical explanation as to what we’re seeing. The truly bizarre scene is heightened by the sounds of a real train crossing over Charing Cross bridge, combined with the repeated cycle of an actor panting to sound like a dog, and a quickfire surge of white noise for the ‘chuffing’ sounds. The bicycles moving down the road after the dream were actually recordings of the same bicycle, only with a delay designer equipped to follow ‘them’ at individual times through panning. The real treat to observe, however, is when we enter and exit Bruno’s mind, as the bedside clock, snoring, and, later, the cheers and vehicles moving, as the ‘Ampitheatre’ spatial reverb wetness increases whilst these sounds ‘slow down’ rather than fade out. Enjoy. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/8ceeeb95-413b-4dd1-9847-4611d03aa724/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/8ceeeb95-413b-4dd1-9847-4611d03aa724/thumbnail All Videos DESCENDANTS OF THE SUN, S01E14 (2016) - “Yoo Shi-Jin Gets Shot Down”. REDESIGN Originally in Korean, dubbed into English. Dispatched by his superior to terminate Ahn with extreme prejudice, Captain Yoo Shi-Jin realises the futility of his assignment (and through his ears, and the distortion of reality, so do we). Integral audio components consist of the gunshots; car crash; and running echoes, deep breathing and ‘Jasmine’ reverb plugins used to examine Yoo’s internal struggles. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/969d628c-39d0-408a-a10b-6e1587346f75/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/969d628c-39d0-408a-a10b-6e1587346f75/thumbnail All Videos HEADPHONE WOMAN (Year unknown; possible public domain). REDESIGN An early test of subjective ambience as this woman listens to music on her phone with the background filtered out from both ears, using two high-pass filters, and enhanced reverb for the iPhone sounds as she loses herself in technology. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/996662df-b6ad-470b-bc63-3642e8967bd9/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/996662df-b6ad-470b-bc63-3642e8967bd9/thumbnail All Videos INCEPTION (2010) - “Ariadne’s Training”. REDESIGN My earliest foray into explosion sound effects, as well as Ariadne’s subjective ambience, which directly capture her uncertainty, unease and paranoia, as well as literally breaking down the scene and soundscape - piece by piece. The different objects, materials and buildings exploding, including all of their components, may appear complex to manipulate from the outset. Really, all it is multiple recordings of a few explosion patches, combined with dropping different objects, including paper, sticks, straws and glass, onto flat surfaces. The combined result is then put through a Quick Sampler, so that the pitch (and therefore body & weight) of the explosions is represented through pressing multiple keys/notes at once on the MIDI keyboard. This also represented the more simple psyche of Ariadne, whom realises from Dom that she is making herself FEEL the explosions and brief loss of hearing. The HPF from the EQ used for the remaining explosions, combined with the more intense, echoey reverbs and hearbeat sounds, eventually escalating to a bombastic finish as the dream’s entire reality destructs, made for a unique, psychologically twisted entertainment experience which makes complete use of its surroundings and atmospheres. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b2a5c4cb-2df6-495b-be21-63f9a5051743/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/b2a5c4cb-2df6-495b-be21-63f9a5051743/thumbnail All Videos TRAPPED (2024) - Full Short. REDESIGN This was my very first sound design project which consisted entirely of originally-recorded audio, commissioned on behalf of a former film student. Simplicity is the element which best sums up the soundscape here, with emphasis placed on the claustrophobic feel of the ‘locked’ storage room, with volume, echo and reverb gradually escalating to build tension, as well as confusion and unease for our man. https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/1ae33a4f-5456-41fc-8d5f-27126f881c38/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/1ae33a4f-5456-41fc-8d5f-27126f881c38/thumbnail All Videos U-571 (2000) - “Nazi Bombing”. REDESIGN Chaos. Seemingly endless destruction. A near-death experience. All summed up in just about 60 seconds. More impressive than the explosion sampler used herein (which triggers different explosion sounds based on the key pressed, including glass and metal) is arguably what’s going on inside the sub. The rattling and metallic interiors were made using a pitched-down, echoey door creak (settling and rocking), and the vigorous shaking of a toolbox, a discarded toaster, and numerous tools, screws, nails, and other heavy metallic objects together. A duplicated track of the combined toolbox and toaster rattling was later added, and applied with a few spatila reverbs (Air Current, Texture 43 and Prison Med Hall), gave a feel that the entire sub was being surrounded by this bombardment. Additonal sound components which further strengthened the themes of terror and impending death were the electricity surging from the control panels, achieved by using an ES2 patch with intense overdrive distortion and a high-pass filter to make it sound ‘tinny’ and bright, and water bursting through the pipes into the sub. Those sounds were accomplished by combining a quick, hard thud on a large metallic door (for high-pitched echo, of course), and spraying water from a garden hose into a pond to make the sloshing sound violent and heavy. Layer all these sounds together with a bunch of sailors yelling and grunting in shock just underneath the destruction sounds, and you’ve truly made it look like they’re under siege! https://www.tomarchersounddesign.co.uk/privacypolicy daily 0.75 2026-07-31 https://www.tomarchersounddesign.co.uk/cookies daily 0.75 2026-07-31 https://www.tomarchersounddesign.co.uk/showreel daily 0.75 2026-09-05 https://images.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/a0a4a162-af88-4c60-a547-d83a85ea8dc4/Screenshot+2026-07-28+at+21.04.23.png https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/1c27ba66-9068-4ebf-8854-21d3200ee144/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/1c27ba66-9068-4ebf-8854-21d3200ee144/thumbnail Showreel Showreel encompassing most of my tenure, including in-depth behind-the-scenes material https://www.tomarchersounddesign.co.uk/showreel/project-two-ky966-6g2d7 monthly 0.5 2026-09-05 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/f8910ca1-a140-45de-9efc-e88932f598c2/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/6a61d9070b790271ec7c6cde/f8910ca1-a140-45de-9efc-e88932f598c2/thumbnail Showreel - Back to Showreel Showreel encompassing most of my tenure, including in-depth behind-the-scenes material https://www.tomarchersounddesign.co.uk/toppicks daily 0.75 2026-07-31 https://www.tomarchersounddesign.co.uk/toppicks/advanced-layering monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/subjective-ambience monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/subjective-realism monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/v/frostbite-monsters monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/v/exterminate-uh-line monthly 0.5 2026-07-26 https://www.tomarchersounddesign.co.uk/toppicks/v/4700-metres-down monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/v/get-away-from-the-choppa monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/v/a-destructive-mind monthly 0.5 2026-07-24 https://www.tomarchersounddesign.co.uk/toppicks/v/a-real-knockout monthly 0.5 2026-07-24