Production Portfolio


Ted has been involved in a wide variety of projects from producing all aspects of entire EPs and albums to collaborations with visual artists and choreographers. In addition, he occasionally writes his own music. This portfolio demonstrates his breadth of work.

Recent Production Credit
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Producer - Recording, Mixing and Arrangement

Producer - Recording and Mixing

Producer - Recording and Mixing, Composition and Performance (Bass)

Producer - Recording, Mixing and Arrangement

Co-Producer (Audio) - Recording and Mixing

Co-Producer (Audio) - Recording and Mixing

Producer - Recording, Mixing and Mastering

Producer - Recording and Mixing

Producer - Recording, Mixing and Mastering

Location Recording and Mixing

As An Artist


The Engine Room [EP] - Summary

A series of ambient compositions constructed from many heavily manipulated field recordings, creating a hyper-reality. Allow yourself to experience the listen in any way that you wish. Give it your full attention or play it in the background. I hope you enjoy.


The Engine Room is a reflective work that I created in early 2016 exploring the area around Scalegill Mill, a watermill in Malhamdale in the Yorkshire Dales; it experienced a number of different industrial functions before being converted into a series of apartments. For around fifteen years I lived in an apartment named The Engine Room, that not surprisingly hosted the turbines for hydroelectric power and a waterwheel. A number of the original turbines and relevant machinery are still present and are a feature in the living room. On the site of Scalegill is the mill, a mill race and mill pond, a section of the river Aire and a beautiful area of woodland. This is all within close walking distance of the beautiful Malham Cove. This EP was my way of saying goodbye to a significant place in my childhood that I was very happy to call my home.


Each piece comprises almost entirely of field recordings that I captured around the site, with the odd sample from my collection of studio recordings. The field sounds captured represented my day-to-day association with the place to create a “figurative environment” influenced by Brian Eno’s approach for “Ambient 4: On Land” capturing the place as one might with a painting. Whether these sounds are literal to what the listener may experience at Scalegill for instance underlying field recording on “Hanlith Bridge” or are hidden under immediate 'surface' of the place the water recordings captured using a hydrophone on both “Water 1: Mill Race” and “Water 2: The Engine Room”, I intended to create selective realities. By this, I mean layering field recordings from different periods in time into single linear events to maintain the interest of the listener and create an intense experience. Natasha Barrett creates a selective reality in her work “Microclimate – III. Glacial Loop” where she captured the “electrical sparking, sucking, squeaking, whistling, burning and clicking” of a glacial lake.


In contrast to Barrett’s approach, I heavily manipulated my recordings to further exacerbate each selective reality, creating ideas that are symbolic and representative of place but to suit the loose narrative that I intended for each piece. Production techniques include but are not limited to spectral enhancement, extreme EQ, distortion, bit crushing, reverbs, delays, compression, time stretching, filtering, pitch manipulation, etc. Most sounds heard are not how they were originally captured, and the work is by no means intended to be sonically perfect. I was vibing while composing these pieces and cared mostly about effect rather than fidelity. In my view within an ambient context, audio fidelity is a creative decision rather than a necessity.


A collaboration with photographer Lisa Errico. The theme was set vaguely as water before transforming into a surreal work. Errico used a combination of 35mm and moving image. The abstracts colours and patterns were created by distorting the 35mm film with a range of household substances from kitchen cleaner to paint.

A selection of tracks. "Rain" and "Interstellar" are downtempo style tunes and "67P/C-G" is a composition inspired by (and sampling) a recording of a "comet song" by the European Space Agency.

"Ted is a joy and a pleasure to work with. He is a driven individual and strives to get the best from every session he runs, creating work that not only the artist can be proud of, but also he, himself can be proud of too." Rob Romaine, Producer

© 2018 Ted Westwood