Andrew has worked in the audiovisual industry for over fifteen years, working his way through sales, installation, operation, commissioning and design in corporate, residential, education and marine settings. This experience has led to a thorough understanding of each step in the project lifecycle and an acute attention to detail.
His experience has seen him work as an AV consultant for a large engineering consultancy, looking after bespoke AV design requests for a large tech client; and a considerable stretch at a large systems integrator quoting for, designing, commissioning corporate and education AV designs.
Andrew joined Charcoalblue having spent two years embedded in a large major client’s AV design team. His responsibilities there were to consult on, design and prototype meeting space audiovisual systems with global alignment in operation and experience. He looks forward to continuing the work with this client, making sure their ‘video first’ and collaboration focused meeting culture is enabled through the provision of reliable, intuitive, accessible, equitable and user experience informed designs.
Outside work, Andrew is an avid music enthusiast. If he is not listening to something and drumming on the table; he is likely to be playing, editing, mixing or just dreaming about music. His unconscious brain’s favourite pastime is mixing ‘ear-worms’ with odd numbered time signatures. He finds it very annoying.
If you were to establish your own venue, what would you call it?
I’m terrible with names, so I would probably call the venue “[ ]”
What qualities should a 'great performance space' have?
Excellent accessibility for loading / rigging, performing and observing; neutral décor; appropriate acoustics for the performances; appropriate sound equipment; flexibility in performance positions; FoH mixing desk in a sensible position; and finally – located where people won’t be upset about noise!
What first sparked your love of theatre or performing arts?
My introduction to the world of theatre was my school’s performance of Jozef and Karel Capek’s The Insect Play. I was too shy to get up on stage, so my drama teacher gave me an SFX and foley job. I missed cues, didn’t level any of the sounds and played the wrong SFX… it was pretty terrible, and the performers found it hard to concentrate. But at least I was hidden away from the audience!