2023 SOUND DESIGN / COMPOSITION 12 minute short film

In the dimly lit ambiance of a late-night cafe, a belligerent young waiter encounters a woman seeking solace. In this quiet moment he is challenged to rise above the ordinary and embrace his role with empathy and compassion. With a simple act of kindness, he has the power to transform her night, leaving an indelible mark on both their lives.

Selected for:

BAFTSS Conference 2024 – Nominated for Best Screen-based Practice Research (short)

Miami Women Film Festival

New York Arthouse Film Fest

European Short Awards – Nominated for Best Female Director, Oct 2023

Best International Film Festival 


RECONTEXTUALISING SOUND-IMAGE MEDIA: 2021 – 2023 – AHRC Leadership Fellowship

Principal Investigator: Andrew Knight-Hill, Research Fellow: Emma Margetson.

This project will engage Oscar and EMMY award winning Sound Design professionals in collaborative research to unpack their tacit knowledge and to investigate the role that spatial thinking plays within their practice. Taking an interdisciplinary approach, this project seeks to use concepts of space to analyse and critique established audiovisual theories, bridging traditional subject boundaries and inspiring new perspectives for understanding sound and image media. For more information on the project click HERE.

Key Publication: Art of Sound: Creativity in Film Sound and Electroacoustic Music by Andrew Knight-HillEmma Margetson


Concert Series Lead 2021 – Current

The Loudspeaker Orchestra presents immersive acoustic experiences through programmed concerts of multichannel sound design, sonic art and electroacoustic music. These concerts are open to the public, and have run since 2015. For more information on the series click HERE.


Tracking emergent impact across the SOUND/IMAGE Research Group, HEIF funding – January – July 2022

Devising long-term strategies for the capture and collation of impact data from the audiences and stakeholders who engage with research via the Loudspeaker Orchestra events.


2022, Modular Soud Packs

A project in collaboration with Brona Martin (University of Greenwich) and astronomers from the Royal Observatory in Greenwich. Exploring how spatial audio and sound-based composition can be used to underscore and communicate educational and scientific knowledge activities within live planetarium shows and educational events.  


September 2021 – February 2022 – Arts Council England DYCP funded residency

The IKO is an incredible tool for spatial audio composition. The device generates immersive 3D sound fields, the IKO uses an array of twenty speakers to project Higher Order Ambisonic sound spaces. For more information on the residency click HERE.


Producer – April 2022

RAISING ICARUS is a new chamber opera which breaks open the ancient myth to reveal its contemporary, psychological heart – how parental expectation and aspiration risk doing harm to our children. This much-anticipated opera from Michael Zev Gordon and Stephen Plaice explores the more profound psychology of the Icarus myth that has been overlooked in other tellings. Directed and designed by internationally renowned team of Orpha Phelan and Mads Boyd, and conducted by Natalie Beale Murray with Birmingham Contemporary Music Group, RAISING ICARUS presents a mesmeric world of curious mechanical devices, dark labyrinths and ingenious workshops in which increasingly dysfunctional relationships eventually bring tragedy.


2021 – University of Greenwich and St Bernard’s Hospital, Gibraltar

Ameliorating Delirium Incidence in ICU patients via designed soundscapes to mask disruption from night-time noise. Night-time noise is a key contributor to delirium onset in ICU patients. The project interrogates whether designed soundscapes can mask night-time noise disturbances and therefore reduce the incidence of this delirium trigger. 

c. 30 minute binaural soundscape


Reaching New Audiences Through Sound: 2016-2021 – AHRC /Midlands3Cities Doctoral Training Partnership

This PhD thesis is a practice-based effort to respond to the homogenisation of acousmatic audiences to niche cliques of practitioners. It consists of a portfolio of nine acousmatic compositions in stereophonic and multichannel formats and a written commentary. Two of the compositions form part of a larger collaborative work/project (Sound Sculptures and Ancestor 1). The commentary discusses the creative and compositional processes behind the acousmatic works, building upon a variety of approaches to engaging wider audiences with the medium of sound. Through exploring various approaches to audience engagement, audience development and collaboration (with other artists, art forms and organisations), this practice-based research explores how an electroacoustic composer may reach new and existing audiences. This has led to a variety of dissemination outcomes including performances, site-specific works, installations and workshops.