Hello! My name is Sean and I am a composer/songwriter based in Dublin. I graduated from Pulse College in 2025 with a Masters in Scoring for Film, TV and Interactive Media. Since then I have gone on to score numerous short film projects. A combination of psycolgical thrillers and crime dramas.
I am particularly interested in hybrid scoring — combining orchestra, sound design and world instrumentation to create my scores. I enjoy creating scores that have melancholic, unsettling and provocative characteristics and have found I am particulay fond writing music for gothic (I am a big fan of Robert Eggers), fantasy and historical pieces, as well as psychological thrillers.
Here are some of my favourite pieces I have written in that style:
I write, mix and master all my own music from my studio.
Please see my list of services and credits, listen to my music and get in touch if you are interested in collaborating!
If I had to sum up my compositional approach in one word, it would be hybrid. I enjoy combining many methods of creating sound and merging them into something that is quite unique. The overall tone I am drawn to is melancholy, tense, unsettling and provocative.
There are four palettes that I draw from and combine to create my sound — orchestral, world/ethnic, sound design and modern.
ORCHESTRAL
I studied the funadamentals of orchestration at Pulse College. I understand each instrument and it’s section. The sorts of sonic characteristics that they each impart and how to write for / get the most out of each instrument & make them sing together. I am continually mastering the art of orchestral programming (using fake sampled orchestras to create the most realistic orchestral sound possible) and enjoy doing so. I include choirs in this orchestral palette.
WORLD/ETHNIC
I am very interested in world instrumentation. Hans Zimmer brought this style of writing mainstream with his score for Dune and more recenly Ludwig Göransson in The Odyssey. I am very inspired by the music of The Witcher 3 and the fantasy genre in general. I adore bringing these sounds into my work when applicable, and particularly mixing a ethnic soloist with orchestral accompanyment. I find this to be a joy to the ears!
SOUND DESIGN
This is generally the accompanyment to my main melodic idea or theme. I will often include ambient textures that sit behind the main idea of the track (although sometimes it’s more forward). I find ambient pads and drones are an excellent way to fill out a score. I achieve this by samples, but also from time to time I will record a sound and maniplate (or mangle!) it to create something really strange — but pleasing! I have also been know to use my voice in tracks aswell. I edit my voice in interesting ways to add unique textures.
MODERN
The final piece of the puzzle. Modern instruments. Keyboards, synthesizers, guitars, you name it. If it is a staple of a recording studio, I want to use it. From my songwriting background I can bring a unique spin to a cinematic track. Include some Western style guitar riffs? No problem. A funky bassline? Right on it. Combine this with and orchestra, world instruments and ambient sound design. That’s me! Chef’s kiss!
Let me know how you would like your score to go!
Composition Methodology
Mixing & Mastering Methodology
I have a very keen interest in the analog mixing workflow. Large format consoles have been around since the late 50’s and early 60’s, pioneered at Abbey Road with the EMI 12345 console, recording The Beatles and The Rolling Stones among others. but became a staple in studios across the world with the introduction of the SSL 4000. The benefit for me of this approach, is it offers an efficent workflow that imparts a beautiful and recognisble sound when executed correctly.
To replicate this sound in the digiatal age, I use an analog workflow mixing techniques. I try my best to match the signal flow used in large commercial studios — I use the SSL 360° software along with the SSL Native Channel Strip 2 and SSL Bus Compressor 2 (on the mix bus) as my workhorse to achieve this goal. I pair this with Waves NLS Non-Linear Summing, to replicate the subtle harmonic nuances found in each channel strip. I will use analog tape emulations across each channel to replicate the pleasing sonic characteristics of analog tape tracking and mastering.
I also use many plugins that model classic hardware, such as the LX-480, emulation th classic LX-480 reverb unit found in many large commercial studio around the world and LA-2A / 1176 compressors and Pultec EQ’s. I insert these in logical places in my signal flow, again to replicate the analog environment.
I used this method of working on my song ‘All is Well in The World’ for ‘Bereavement’ and I think the mix turned out very well. This inspired me to perfect this method of mixing going forward. This song will be out soon…
I wish to add outboard analog equipment to my rig, to further improve my sound and delve deeper into a hybrid mixing envirnoment, marrying the best elements of analog and digital.
My influences also bleed into my mixing methodolgy. From my love of nu-metal / alt- rock. I enjoy creating mixes that are aggressive, unapologetic, big & loud and emphasise making each instrument present and detailed.
For a softer tone I often harkon back to my love video game soundtracks. Ambient exploration music in particular. Listen to the Skyrim soundtrack. The polar opposite to a heavy rock track. The mix is gentle and calming.
Once the music is written, the mix brings it to life.