Production Music Writer and Composer born and raised in a musical spaceship laboratory near London. I create professionally recorded music and atonal soundscape experiments for a large range of productions including, tv, games, trailers and film.
I work surrounded by a wall flashing lights and vintage analogue synthesizers in addition to a large array of organic and stringed instruments that I have attempted to master over several years. Using a combination of the two gives my sound its own distinctive identity however I am always striking out to discover and embrace unheard musical ideas due to my strong desire to progressively challenge myself to write something I’ve never heard before. Regardless of whether it’s the divine atmospheric cinescapes of other worlds, the pounding majesty of the battlefield, iconic motifs or retro themes that you are after, I will bring an immersive and professional integrity to every production.
I am well versed is many styles but I do lean towards Abstract Ambience, Emotional Epic Percussion and Orchestral and
Game Music – I have gained a strong understanding how to complement how game characters behave and move, creating the right immersive tone for the world within the game and enhancing how the gamer feels when they accomplish certain tasks. Understanding the key points to helping a game maintain it's own identity in a busy market and making sure the music can sustain repetition to repeat play.
Being an obsessive gamer and a composer has helped me to understand what works musically within a game and in turn help to understand what the developer is looking for.
I test my work in an adaptive audio environment using FMOD middleware, understanding that gaming scores are non-linear and helping to save time so small game development teams can prioritise their time to programming without worrying if the music is going to flow and fit together seamlessly. All sound effects and audio will have been tested within an interactive and spontaneous environment.
Film Music - Understanding the balance of whether the aim of a piece of music is to support and enhances the picture or if it’s goal is used to create a unique identity.
Trailer music - Usually they are looking for music that is impactful, not too complex in nature, or too busy in arrangement. It also needs to be fairly static dynamically, as it is up against a barrage of voice overs, sound effects and busy images. The music generally glues everything together and sets the mood/tone of the trailer.
UK multi-instrumentalist Russ Harris began his formative years with a diet of John Carpenter's chilling dystopias which pushed an early inspiration into discovering how music was used to provoke emotional response within a production, this is evident throughout the heart of his work. whether it’s the divine atmospheric cinescapes of other worlds, the pounding majesty of the battlefield or iconic motifs and themes he brings an immersive and professional integrity to every production.
Since studying sound editing and recording techniques in London and physically building his own recording studio a thirst for experimenting and discovery steered him towards sound design which was at the forefront of a handful of experimental electronic bands for which he was the principle songwriter and musician, using a combination of old hardware analogue synthesizers and samplers in addition to sound design elements taken from field recordings, this music received very high praise in reveiws and led to being asked to play a Mute Records anniversary event with artists such as Vince Clarke and Andy Bell from Erasure, and Add N To X followed by a request to play the Glade Electronic festival.
After a period of further education studying mastering techniques he went on to have his music produced by David Arnold while contributing instrumentation for a track by UK TV comedian Matt Berry from IT Crowd fame.
Since 2013 he been primarily scoring music and sound design for many independent films and games, and more recently have begun producing cinematic audio loops and sample packs for other composers, the first of which is titled 'Drums Of Sparta'.
I work surrounded by a wall flashing lights and vintage analogue synthesizers in addition to a large array of organic and stringed instruments that I have attempted to master over several years. Using a combination of the two gives my sound its own distinctive identity however I am always striking out to discover and embrace unheard musical ideas due to my strong desire to progressively challenge myself to write something I’ve never heard before. Regardless of whether it’s the divine atmospheric cinescapes of other worlds, the pounding majesty of the battlefield, iconic motifs or retro themes that you are after, I will bring an immersive and professional integrity to every production.
I am well versed is many styles but I do lean towards Abstract Ambience, Emotional Epic Percussion and Orchestral and
Game Music – I have gained a strong understanding how to complement how game characters behave and move, creating the right immersive tone for the world within the game and enhancing how the gamer feels when they accomplish certain tasks. Understanding the key points to helping a game maintain it's own identity in a busy market and making sure the music can sustain repetition to repeat play.
Being an obsessive gamer and a composer has helped me to understand what works musically within a game and in turn help to understand what the developer is looking for.
I test my work in an adaptive audio environment using FMOD middleware, understanding that gaming scores are non-linear and helping to save time so small game development teams can prioritise their time to programming without worrying if the music is going to flow and fit together seamlessly. All sound effects and audio will have been tested within an interactive and spontaneous environment.
Film Music - Understanding the balance of whether the aim of a piece of music is to support and enhances the picture or if it’s goal is used to create a unique identity.
Trailer music - Usually they are looking for music that is impactful, not too complex in nature, or too busy in arrangement. It also needs to be fairly static dynamically, as it is up against a barrage of voice overs, sound effects and busy images. The music generally glues everything together and sets the mood/tone of the trailer.
UK multi-instrumentalist Russ Harris began his formative years with a diet of John Carpenter's chilling dystopias which pushed an early inspiration into discovering how music was used to provoke emotional response within a production, this is evident throughout the heart of his work. whether it’s the divine atmospheric cinescapes of other worlds, the pounding majesty of the battlefield or iconic motifs and themes he brings an immersive and professional integrity to every production.
Since studying sound editing and recording techniques in London and physically building his own recording studio a thirst for experimenting and discovery steered him towards sound design which was at the forefront of a handful of experimental electronic bands for which he was the principle songwriter and musician, using a combination of old hardware analogue synthesizers and samplers in addition to sound design elements taken from field recordings, this music received very high praise in reveiws and led to being asked to play a Mute Records anniversary event with artists such as Vince Clarke and Andy Bell from Erasure, and Add N To X followed by a request to play the Glade Electronic festival.
After a period of further education studying mastering techniques he went on to have his music produced by David Arnold while contributing instrumentation for a track by UK TV comedian Matt Berry from IT Crowd fame.
Since 2013 he been primarily scoring music and sound design for many independent films and games, and more recently have begun producing cinematic audio loops and sample packs for other composers, the first of which is titled 'Drums Of Sparta'.
