Full Tone Audio — Manchester
Sound recording, dialogue mixing and original music.
Fourteen years recording dialogue on a network continuing drama, alongside freelance work as a recordist, mixer and composer across film, broadcast and branded content. I record it, edit and mix it, and where it needs music, I write that too — the same person handling it from the shoot through to delivery.
On set
Record it properly
At the desk
Edit & mix it right
To the cut
Score what's left
Same recording. Left as it arrived, and after I'd been through it. Play one, switch to the other — it keeps your place.
Selected work
| Year | Production | Client | Role |
|---|---|---|---|
| 2012— | Network continuing drama | ITV | Sound recordist / boom op |
| 2025—26 | The Wayne Rooney Show | BBC Sport / 5 Live | Location sound |
| 2025 | Horrible Science | BBC Children's | Location sound — Jodrell Bank & Blackpool |
| 2026 | Youth darts championship | Target Darts | Live sound supervisor |
| 2026 | Mad Party Hat of Dreams | Eyup Films | Re-recording mix |
| 2025 | It's the Hope That Kills You | dir. Tim Royal | Sound recordist |
| 2019 | 3 Minutes of Silence | Bolo Films | Sound recordist |
| 2018 | Hope Dies Last | Bolo Films | Sound recordist |
| 2017 | Taubman | Bolo Films | Sound recordist |
| 2025 | Ouija Go Out With Me | Trifecta Films | Recordist / mix / composer |
| 2021 | Maggie | Trifecta Films | Recordist / mix / composer |
| 2019 | The Albion — pilot | Trifecta Films | Recordist / mix / composer |
| 2018 | CTRL Z | Trifecta Films | Recordist / mix / composer |
| 2024 | The Responder, Series 2 — EPK interviews | Skim Productions | Location sound |
| 2023 | The Bay, Series 5 — EPK interviews | Skim Productions | Location sound |
| 2023 | The Responder, Series 1 — EPK interviews | Skim Productions | Location sound |
| 2022 | The Bay, Series 4 — EPK interviews | Skim Productions | Location sound |
| 2022 | The Son — EPK interview | Donovan Jones | Location sound |
| 2021 | Dover Fuel | Groundbreak Productions | Audio post |
| 2020 | Brother — printer campaign | Groundbreak Productions | Audio post |
| 2019 | The Voice Kids — behind the scenes | ITV | Location sound |
| 2018— | MasterChef | BBC One | Original music, library |
What I do
Hire me for one part of this, or all three. Most clients start with one and end up handing me the lot — it's one relationship instead of three, and the music actually fits the mix because I built them together.
01 — On set
Location & live sound
Recording it properly the first time. Interviews, panels, multi-speaker dialogue, live events, radio mics, IEM, commentary feeds. Fourteen years of doing this on a schedule that doesn't wait.
02 — At the desk
Dialogue editing & mixing
Cleaning up what you've got, mixing it, delivering to spec. Film, documentary, branded content, EPK and BTS content. This is the core of what I do.
03 — To the cut
Sound design & scoring
Stings, transitions, texture under a VO, a theme that develops with the edit — written to fit the picture, not chosen from a shelf. My music has been broadcast on BBC One.
Built into the mix, not a separate booking.
Why one person, rather than three? Because the person who was in the room when it was recorded understands why it sounds the way it does — and that same person can mix it, and write music that's built to sit under the dialogue rather than fight it, instead of a track dropped in afterwards and wrestled into place.
It's also just easier. One conversation, one invoice, one credit — instead of chasing a recordist, a mixer and a music library separately and hoping the three line up.
About
I'm Chris. I've spent fourteen years on the sound crew of a network continuing drama — the kind that shoots more dialogue in a week than most productions manage in a year. There are no second takes, there is no quiet room, and the schedule does not care.
What that gives you is someone who has heard every way a recording can go wrong, and knows how to fix most of them. Extractor fans. Traffic. A radio mic that decided today was the day. Four people talking over each other.
Alongside it I've spent years doing the same work freelance — for short films, corporate campaigns and broadcast EPKs — as recordist, mixer and composer, often on the same project. I record it, or I rescue it, and then I can score it, because I hear a mix as one thing rather than a set of separate problems.
A good number of the credits above are repeat work — the same directors and production companies coming back for a second, third, sometimes fourth project. That matters more to me than any single credit on its own.
Based in Manchester. Most work delivered from my own studio; on set across the North West and beyond.
Send me the brief. I'll tell you what I'd do with it.
Recording, post, or the whole thing end to end — no charge for a first conversation. If there's a project on, or you want a second opinion on something that isn't sitting right, get in touch.