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Previous work includes; having co-engineered in the overall production and curation of an educational sound installation for an exhibit.
His experience in sound design has been challenged to be innovative and lateral. Christopher's tasks involved generating recordings of accumulative researched information on the history of music and making opinionated suggestions to aid the brainstorming and assembly of the exhibit. This entailed manipulating readers’ voices so that they were unrecognisable, selecting appropriate effects for backing tracks and mixing everything correctly so that the recordings would be suitable for a quadraphonic system.

Over the past three years Christopher has involved himself in the production and recording of artist’s written music. Putting everything he has learnt in his experience with live sound, not to mention knowledge of music theory, to good use - mainly working with studio engineers to assist them in getting the best out of their technology, equipment and their client. He has always challenged himself to clarify precisely what the artist wanted and discuss with the engineer how the desired sound was viable. He has also gathered an understanding of various recording techniques being both manual and software based. Christopher's experience in these instances has ushered in an eclectic broadening of my ability as an audio engineer.

A history of assisting in the audio engineering of open mic. nights means that his experience with live sound ranges from mastering full live band ensembles to stand up comedy acts. This makes for an enriched pallet of useful abilities, negating any previous apprehensions towards alien territory after having mic’ed up so many strange and wonderful instruments. From this, working with other experienced audio engineers has allowed him to learn some of the quintessential rudiments of implementing both instrumental (acoustic/electric) and non-instrumental live sound.