Richard is a versatile musician and studio composer for visual media.
A self-taught musician from the age of 14, Richard plays bass guitar, guitar and keyboards. Richard has diversified his style well beyond his rock/pop roots, embracing new technology as a way of enabling him to write hybrid orchestral scores.
Often drawn to darker scores, it is perhaps little surprise that he lists his favourite film composers as follows: Umebayashi, Glass, Elfman, Mansell, Nyman, Burwell and Navarrete.
Richard holds a BA (Hons) in Film Music & Soundtrack Production, 1st Class. While composing is his main interest, Richard is also keen exploit the other skills he developed during his degree and is able to offer clients other audio post-production services including sound design, sound editing and mixing.
Richard has his own project studio, which is fully equipped to support music composition, recording small ensembles, music production, sound editing (iZotope RX6 suite for audio clean-up), mixing and mastering (iZotope Ozone 7 suite).
Credits and Feedback:
2019 The Haunted Hotel (composer) - Livid Films/Nick Woolgar Films
Currently in post-production
"We couldn't be happier with the way the scoring has turned out. It's been a fun, creative and inspiring process, working with a lovely team of people who have really brought a richness and another level to the film that we didn't foresee. We're very grateful for that."
Nick Woolgar - Producer
2019 Relinquish (composer)
“Working with Richard has been an excellent experience. His creativity and professionalism helped shape the film even before we started filming. Ideas and demos for certain scenes were created in incredibly small gaps of time with great results. His commitment and constant communication allowed me to bounce off ideas with him to create the best possible score for the project. The sound quality and mixing was superb, allowing the scores rich orchestration and synths give the project a wider range of emotional tones that helped connect with the viewers during certain scenes. Richard's workflow, on-time deliveries and great execution make him a great choice for any film score, and I definitely recommend working with him.”
Jacob Milosz Wiecaszek - Director
2018 The Quartet (sound mixer)
Yue Dai ("Rebecca") - Director
2018 The Matchmaker (sound editor and mixer)
"It is a great experience to work with Richard. He is very conscientious, responsible and easy to communicate with. He cleaned up the dialogue and did the sound mixing job. Really helped me a lot."
Jiayue Huang - Director
2018 Para Que Outros Vivam / So Other May Live (Composer) Wild Pictures
"Working with Richard was very good and easy. It is difficult to find the right person to compose the right music for a film, but Richard was amazing from the start: very easy to communicate with and always ready to help and work on the project. It was a great, great pleasure working with him!"
Beatriz Barreiros - Director & Producer
2018 Mater Mortem (composer - titles theme) Twisted Tree Productions
"This piece is brilliant - it's exactly what I was looking for and works really well in the film!"
Maya Russell-Baines - Sound Designer
2017 Winner Takes All (score)
"Richard is an absolute pleasure to work with. He was quick to respond and answered all my questions. He put in a great amount of time and effort to get something that was close to what I envisioned. He was also easy to communicate with which makes the entire collaboration so much more rewarding. Prompt delivery, prompt response, and a willingness to do multiple revisions. If you want high quality work you have found the right guy."
Ken Mensah - Director
2017 Living, Dying and Rising (score, sound design, sound editing/mixing) - Dysutopia Films
2017 Fort Box (sound editing)
The Silent (sound editing and mixing)
"Working with Richard was a really great experience. He helped clean up dialogue which I thought would have had to be done during ADR. He clearly knows his stuff, always responded swiftly and communicated clearly."
Dom Lee - Director, Lightning Oak Productions
2017 Inside the Atelier (score)
"The soundtrack is perfect and fits like a glove, hitting all the tones and beats, completely elevating the entire piece to a new level. Couldn't have asked for more professional and rewarding service, it's been a pleasure to work with you."
Philip Iyegbe - Writer/Director, Beyond Yonder Productions
2017 Cope (score)
"With limited ideas of films and clips sent to Richard to work with he did a wonderful job of creating suitable pieces of music that captured the scenes intent and tone perfectly. They allowed the film to be elevated to that next level to showcase the emotion that James, the main character was experiencing at that time. The technical execution and mastering of the files themselves made for very easy work in the cutting room. This is all down to Richard's professionalism and constant communication with myself, wanting to relay his progress and discuss anything music related. This aspect made working with him an absolute pleasure.
Although we had worked out the length of the project and deadlines, other post-production crew had delayed some progress and with terms already laid out I felt that Richard went above the call of duty to make sure that what he was going to be delivering was up to the standard he wanted. Once the style and piece had been composed, finding the perfect queues for his music to accompany the image after was another excellent triumph of what is a well-rounded score for Cope. I would be grateful to have the opportunity to work with Richard again, I learned a lot from him that will surely further the betterment of my own film career. I couldn't thank him enough for his work and will without consideration, pass him name onto any production team that is in need of a composer."
Graeme King – Producer and Director
2017 Eternity Corp (score, sound design, sound editing/mixing)
"The sound design and score complimented the film very well. Sound was key to making the movie work as the visuals were quite basic. Richard managed to bring the android to life with his sound effects and also added mystery and emotion with his score. Audio clean-up was great. Every actor can be heard clearly in the film. Also the soundtrack doesn't dominate the piece and the sound level is balanced well against the dialogue. Richard was very professional and even managed to complete the sound design and score ahead of schedule. The whole crew worked through email and Skype and were able to communicate clearly and effectively. I'm hoping he will work with me on my next project. I would definitely recommend him to other filmmakers."
Jimmy Nsubuga - Director, Dysutopia Films
2015 Perception (score)
"Richard is a determined collaborator and was an inspiration to work with. He felt like my Clint Mansell to his Darren Aronofsky as I would always tell him. He was very spruce and up and ready to go and always taking notes . His score was fantastic. Working with Richard was the first time I had ever collaborated with a sound artist and it was a memorable experience. I look forward to hearing his future endeavours."
Luke Hickford - Director
1964 I am born in Norwich, 4th son to Eric and Miriam.
1978 I buy my first electric guitar and amp for £30.
1979 Talking Heads release Fear of Music.
1980 I form a band with Neil and Brett - “Screen 3”.
1981 Screen 3 sign to CBS Epic label.
Philip Glass scores Koyaanisqatsi.
I buy the album of the film score.
1982 Screen 3 support Madness - we are lucky to get out alive!
1983 Screen 3 record two John Peel sessions.
1984 Screen 3 split but I continue to seek success as pop/rock musician/songwriter.
1988 I get a black belt in Hap-ki-do and move to London to run my own club.
1990 I go back to "school" and four years later gain a 1st Class (Hons) Degree in Physics.
1994 I finally get a "proper job".
2013 I quit my proper job and use the money to upgrade my studio equipment.
2014 I start "BA in Film Music and Soundtrack Production" at University Centre Colchester.
2017 I graduate with a 1st Class (Hons) Degree.
"and the rest and the best…..is still yet to come"