Field recording · Ambisonics · Spatial composition
My sound art brings together recorded voices, environmental listening and spatial composition. I work with ambisonic recordings and multichannel mixes to explore how sound shapes attention, a sense of place and our relationships with the world around us.
This creative practice draws on the same listening and technical care that I bring to film sound, digitization and community recording projects.
France / September 2026
Enchantements
Enchantments · Fête du Sel 2026 · Salin des Pesquiers · Giens Peninsula, Hyères, France
For this collaborative installation, I created two sound works, Eels and Flamingo, in collaboration with Matt Rader, Myron Campbell and Philip Wyness. The works are based on two poems by Matt Rader and creative French translations of those poems by Xander Rebut.
I composed and mixed the sound works in Dolby Atmos to accompany the installation’s visual works. They are presented here as binaural renders for headphone listening.
Listen with headphones. These are full-length binaural stereo renders. The spatial mix has already been rendered into two channels, so you can listen through ordinary stereo headphones.
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Eels
Binaural render of a Dolby Atmos mix · 4:50
Flamingo
Binaural render of a Dolby Atmos mix · 4:49
Sound composition, mixing & binaural renders: Craig Carpenter. Exhibition context: official Fête du Sel programme.
Ambisonics & spatial listening.
Ambisonic field recording captures a sound field with directional information, allowing it to be decoded for different listening arrangements. My compositions draw on this spatial approach to work with movement, distance, voice and environmental sound.
Dolby Atmos mixing and binaural rendering are another part of my practice. An Atmos mix can place sound within a multichannel space; a binaural render creates a headphone listening version of that mix. The Enchantments recordings above are binaural renders, presented as stereo audio.
Recording
Listen in place
Field recording begins with attention to the setting, the people involved and the sounds that give a place its character.
Composition
Compose in space
Ambisonic and multichannel work make spatial relationships part of the composition, alongside voice, texture, rhythm and silence.
Presentation
Prepare the listening experience
Playback format, headphones or loudspeakers, room conditions and the listener’s access all shape how the work is heard.
Sound art, research & professional audio.
My creative practice is connected to research in listening, sound perception and language, and to a professional background in sound design, film sound and voice recording. That combination helps me move between a recording’s technical requirements and the experience it creates for a listener.
Research & ReadAlongs → Digitization & audio expertise → Explore the portfolio →
For sound commissions, installation collaborations or recording projects, get in touch with Craig.
