Casefile True Crime



When I left my job as a team leader at Pinewood Film Studios, I started doing freelance work from home. It wasn’t much, but it was a start and enough to support myself while I looked for a life direction.

Some of the jobs that I applied for were podcast production. I didn’t know much about podcasting but soon learned that this work fits perfectly into my skillset – I was a dialogue editor for the last few years.

More than that, podcasting offered creative freedom, much more than audiobooks, and it was still in its infancy, so there was a lot that could be done without restraints.

I was intrigued and got a few gigs helping out with audio production on small shows.

One of these projects was Casefile True Crime. From the start I knew this was something different; it wasn’t a standard interview-style show, it wasn’t a talk show.

The guy who started the show, Anonymous Host—as he will be known in the future—wanted to do a true-crime podcast in the style of Hardcore History – an in-depth narrative, storytelling show.

He didn’t have a plan for it; he was out of work due to injury and wanted to kill a couple of months. However, after he published a few episodes himself, he received overwhelming feedback from the listeners and knew he might have stumbled upon something bigger. The problem was, he was a novice in audio production and needed help.

We’ve met through the online advert, and I started helping out with production, and soon I’ve also started to compose the music for the show.

However, there were several issues from the start. Working at the professional movie studio meant working in a state of the art edit and mixing rooms. At home, I had an old audio interface, laptop and no immediate funds to upgrade it. The host was funding the show from his savings, and we worked on a shoestring budget. 

Most of my plugins were demo versions or borrowed as he worked from a spare bedroom with a simple microphone.

The first episodes of Casefile have an average quality, but we were doing our best given the circumstances. With time as the show grew, we invested in a better microphone, audio interface, then a recording booth for the host. On my side, I purchased an iMac, the plugins needed to do editing, mixing, mastering as well as composing and other necessary equipment.

It took time, but the improvement is reflected in Casefile episodes, and noticeable for listeners who check listened from the beginning.


I learned to keep my set up simple but up to date. I’ve also learned that it is better to master a few plugins and get most out of them rather than chase a new plugin every week.

There are only a handful of companies that I use for my production, and these are

– Avid Pro Tools as my audio workstation

– iZotope plugins

– Spectrasonics synths

Plus additional software from Spitfire and Eventide.

I have ADAM A5X monitors, M-Audio Hammer MIDI Keyboard for composing, Sony MDR -7506 headphones for editing and AKG712 headphones for mixing.

My work is based on templates – something that I’ve learned when working at the movie studio.

I designed a Pro Tools template, a session that has all of the tracks that I need in different work scenarios.

It’s set up for music composition, editing, mixing and mastering. I hide the tracks that I don’t need and save the session at every step of the production.

When working on Casefile, there are two goals that I have on my mind – quality and consistency.

With three episodes a month, it means that the work has to be streamlined, hence why templating is so vital in achieving these aims.


Casefile is a project that as for now, has just one producer – myself. I have extra help for scoring, but the editing, mixing and mastering are still on my shoulders.

For music, my style is to have continuous music in the background that is not intrusive but adds the emotional feel to the show and builds the picture around the narration.

I want to have bespoke music for every episode; however, with tight deadlines and the dialogue production on top, I also had to streamline the process of the composition and scoring.

First of all, Andrew Joslyn is the 2nd composer on the show, and he usually scores around 40% of the episodes.

The way it works is that after the initial edit of the narration, I cut it into cues or scenes and send them out to Andrew – he sends me back stereo files of already mixed music that I have to mix with the narration.

I tend to write a couple of original themes per episode. I then create 3 or 4 variations of the same theme but with different textures.

In the end, I end up with 8 or 9 cues that I can mix in any way I need to. I also keep the instrument stems separate, and during scoring, I mix in whatever I feel is necessary in the moment – using automated small mixing desk.

Even though the process is streamlined and templated, it still means that every episode sounds different and the music is made to work with the story.

Because of my goals and aims always to improve, not only the work keeps me on my toes but allows me to keep learning. 

It also gives me confidence in leading other types of audio projects.


From the Files



From the Files started as a bonus content that we provided for Casefile’s Patreon supporters. is a crowdfunding membership platform where creators run subscription content service and paying members or ‘patrons’ often get extra experiences and exclusives.

On Casefile Patreon page we do things like ask-me-anything with the team and behind the scenes of the show, and From the Files was one of these extras.

The premise was quite simple; every month we would record an episode that would list updates on the cases that we’ve released on Casefile in the past. True crime stories don’t end with the theme music; there are ongoing trials, investigations and developments, both in the lives of victims, families and offenders. 

Our patrons enjoyed the show, and after some time we decided to improve its format, take it from behind the paywall and release it on public feed, as the first show on Casefile Presents platform.

The new format is as follows: the episode starts with our anonymous host listing latest case updates, but he also invites a person involved in true crime world for an interview. It can be an author, detective, researcher or someone connected to the case we’ve covered in the past.


This meant that my workflow had to change from the usual Casefile-way.

The first thing is the addition of the interviews. The case updates from the host are easy, even though he uses a different microphone (SM7B) and takes a more casual tone, I still use the same Pro Tools plugin set up as with Casefile – adjusted to the new sound.

However, the interviews are a bit more problematic. Some of them are recorded over the phone, some over Skype. Some people are better speakers than others too.

On top of that, some questions that we asked during the recording are kept, and others are added later.

His set up is also different as for Casefile the host uses Apogee audio interface to record the narration, but for From the Files we use Rodecaster for the updates and the interviews.

So the most significant change is in editing and the way I treat the audio from interviews.

I still use the same plugins from iZotope, but can’t use the same settings every time.

The other thing is background music. For Casefile, background music is the emotional link, building the whole picture around the narrator’s voice, and I spend a lot of time making it work.

With From The Files I don’t need to do this; however, I still want the continuous background music playing as it often fills the low-frequency space that is lacking in these over-the-phone interviews.

So I’ve created a few templates with background music that runs for about an hour that I rotate, so it doesn’t repeat every episode.

The episodes are much less frequent – only one every month. However, sometimes they need a lot more attention because of the variables – and because there can be technical hiccups, especially when you are recording an interview over the phone and not in a controlled environment!


silent waves



Silent Waves was the first original project for our platform Casefile Presents. It wasn’t developed for us; the show was already out in public. However, when the team stumbled upon Silent Waves, we knew it would be the perfect show for Casefile Presents.

Not only the story was compelling and real, but also it didn’t reach that many people – we knew we could help it to get more listeners.


When I first listened to the show from the QC (Quality Control) perspective, straight away, I noticed several problems with the sound.

The loudness wasn’t correctly set, and the show was louder than even the loudest recommendations from Apple and Spotify. The LUFS also varied from episode to episode.

The second problem was the editing on the music and dialogues as well as general issues such as noise, lip smacks and plosives.

General mix was something that I’ve also looked at – the music at some moments felt out of place and overshadowed the dialogues, same with sound effects.

Immediately I offered to re-mix the show as long as the creators were happy to send me the stems.

There was a problem though, after back and forth with the creators it became clear that stems and original audio files were nowhere to be found, and the only thing I had was the MP3 files released on the RSS feed.

There was my dilemma, I wanted to show to sound better, but without the access to the original files, my options were severely limited.


Nevertheless, it was a challenge.  

I decided to pick up the gauntlet and iZotope would be my best friend throughout the journey. My process would be unconventional, and I guess borderline offensive to standard audio production work.

I knew I would work in phases.


The first phase was to do the general edit and make the episodes flow a little bit better.

It meant cutting out and clearing a few edits and in some places, cutting short the sound effects and music. I was clear that I would not change the overall structure of the show though, I wanted to improve the flow.


The second stage was about music, and it was the one that I worried about the most. 

I felt that in places the background music was too loud and was overshading the dialogue, the question was – how to make it better with only a stereo mix file.

The tool that came in handy was Dialogue Isolate from my Rx6. The module helps to bring the dialogue up front, making everything else quieter. Of course, it is a destructive process that changes the structure of the audio. I had to go through the music spots individually and make sure it still sounds ok.


The third stage was about the dialogue. I could not run global processes because every recording was a different one, made in a different environment.

So I treated each one separately using tools such as De-click, Denoise, De-ess.

There was a lot of music underneath, so I had to be very careful about what processes to use.


The fourth stage that I did several times was the mix and eventually, the master.

Running Neutron 3 and Ozone plugins as I listened to the episodes several times – on my AKG K712 mixing headphones as well as cheap mobile earbuds.

With each listen, I spotted something new to fix. It was at the same time as I was making sure that the show was at a constant volume.


In the end, I was happy with my work – it was something that I wasn’t necessarily comfortable with doing, changing the already mixed stereo audio file. However, I had no choice.

At the end of the project, I stopped being objective to it, but after sending it out to the creators as well as several other people, the feedback was good, and it helped to ease my anxiety.

Overall, I’m glad I had a chance to work and help to re-release the podcast. Ideally, I would like to re-mix if from scratch, but unusual problems require unusual solutions, and this was one of these moments!


What’s Missing



What’s Missing is a brand new 10-part series that explores the wide-reaching, devastating impacts that occur when someone disappears without a trace. Hosted by Loren O’Keeffe, the founder and CEO of the Missing Persons Advocacy Network (MPAN), the series features candid interviews with family members and loved ones of missing Australians, going beyond the headlines to provide a deep, unflinching insight into their searches and struggles.


When we first talked about Casefile Presents, our Casefile‘s anonymous host knew that he wanted to produce a podcast that focuses on missing persons. 

He was introduced to Loren O’Keeffe – the founder of Missing Persons Advocacy Network (MPAN) and knew that she was the person for the job.

We’ve decided on eight episodes that would feature stories of missing persons and chats with family members and two episodes where Loren would interview experts in the space.

With the help of Loren, MPAN’s book Too Short Stories and Casefile writer – Erin Munro and after many iterations and re-writes, eight full episodes were ready to record.

The structure would be as follows:

Each episode would start with a scripted story read by Loren and family members (in most episodes). This segment would be produced similarly to Casefile, with background music, nice reverb and polished mix, both Loren and the guest would read from the script where possible.

After the story, Loren would invite the guest for an unscripted, intimate chat and talk about topics such as missingness, grief, loss and what happens to families of long term missing persons.

After the chat, we go back to the well-produced story/outro, then roll the credits.

This structure would be the same for all eight episodes, the other two would be interviews with experts.

After the writing process was finished, we had to book the studio. Me being in the UK and the rest of the team in Australia, it was challenging to find a suitable place as I wasn’t there to physically check it.

We only had a week to get everything done – so 10 interviews in total plus story/narration parts.

On some days we’ve scheduled just one session, but on several days we had two sessions in a day – morning and afternoon.


The studio was located in the heart of Sydney. A recording room was set up with six microphones (Rode Procasters) around the table, as well as lighting and cameras.

The tracking room was behind the big glass door, and the tech staff set us up with monitoring headphones.

As I stepped into the studio, I did notice a few things. The studio was in the office building, with other offices next to it, separated by a thin wall. There wasn’t any acoustic treatment on the walls, and there wasn’t much isolation at all.

I sensed straight away that this could be a problem, but the first two sessions were on the weekend, so at least the start was good.

The studio also appeared quite cold with AC running constantly. This is ok for short sessions, but during longer days it can be quite problematic.

The tech staff was accommodating and professional, made us and the families feel comfortable and looked after. We also had a green room upstairs where we could greet the guests and debrief after the sessions.

The sessions would look as follows – we would greet the families, explain the process, Loren would also explain how she would run the session.

We’d start with reading from the script for the story, and during that, myself and the anonymous host would take notes for the re-does and pickups.

When this was all done, Loren and the guest could relax and had an informal chat that we recorded for the episodes.

The studio was a podcast in the box kind of a place. However, I wanted raw, uncompressed and unfiltered files. All the sessions were nicely labelled with the day and part of the day, so I could easily find the audio.

I bought a hard drive for the occasion, we made several copies to be sure, said goodbyes to Loren, and that was that!


Some people will already know that I work on templates as this is what I learned at my previous job as a dialogue editor at a movie studio. I have one template that I use for my projects and adjust them accordingly, so I did the same for What’s Missing.

I knew that Loren would feature in every episode so her track, or preferably two tracks – story parts and chat which needed to be in What’s Missing template. The rest of the tracks would be somewhat similar with some adjustments on EQs and compressors depending on a person featured.

Before the editing, I decided that the story parts will have reverb on the dialogues to make them pop a little bit. The reverb would then be off during the intimate chat making the sound slightly different when the episode moves into that segment. I dropped the original audio into the folder. I created folders for all 10 episodes as well as sessions for pickups which we recorded at the end of the week.

Draft 1 means a structural and flow edit, cutting out the mistakes, creating the story, getting the pickups and editing the flow of the chat plus the outro. So you’d get the whole picture of the episode however with no clean ups, no mixing, and very basic levelling.

Draft 2 would be more complicated. Draft 2 meant that the feedback notes were incorporated, the dialogues were cleaned up with iZotope Rx, and also the story featured the score. However, the episodes would still lack the proper mix, but it would sound close to the master.

After that, I would incorporate the final notes and do the mixes and final masters. At this stage, there should not be any further changes – however, we could still do tweaks and adjustments if needed. The team would be notified at every step of my production, so the process was transparent and organised.

The first structural edits were a time-consuming process. First of all, a lot of pickups, re-records and additional parts were all over the place so getting them in place took time. As I said before, I took notes but still, I had to scrub through the pickups session to find the relevant audio.

The other process was editing the chat, this took time because, during structural edits, I was not only editing out the uhms and aahs but also cutting down parts that were off-topic or repeated. I was working on my monitors ADAM A5X in Pro Tools, in my templates.

When the team was reviewing the first cuts, I started working on in-depth cleanups of the dialogues. That meant applying processes within iZotope RX – the audio restoration software. I use RX every day, both for manual cleanups as well as with module chains and global processes.

Because the dialogues were recorded with dynamic microphones, the gain wasn’t there, and I had to pull up the volume quite a bit. Once I did that, all the issues of space not being isolated were audible – recordings were noisy, background noises were there, and the noise floor wasn’t great. I’ve done my best to tackle that, but if recordings were better, it would be much easier to do the job.

Next was the bleed and outside noise. As I mentioned before, space wasn’t isolated. Because of the nearby offices, there was a spill and in places quite audible – laughter, chatter, the phone ringing.  Dynamic range and general recording issues were also tricky to fix. Coughing, sniffling, mistakes, clothes moving, and of course moving off-axis were at times very problematic. Again, in that instance, the intelligibility comes first and quality second, so as long as the dialogue was audible enough and understandable, it was a good enough job for me.


The first thing that comes to mind when scoring a podcast is the main theme. Loren knew an artist called Jess Ribeiro and wanted to use her song Wildflowers as the theme to What’s Missing. She thought it fitted perfectly – the lyric and the music. We’ve contacted Jess, and she agreed to license her song for the podcast. Besides the final master I’ve also requested the instrumental version which we used for various trailers, promos and credits.

As mentioned in previous episodes, the structure of the 8 main episodes would follow the same flow: the story – chat – outro and credits. My idea was to make the story and the outro a polished mix with background music, in a similar way, I do it for Casefile. The chat with the guest wouldn’t have any music in it.

My initial plan was to write eight musical cues, one for each episode and then as I do for Casefile – play and mix with the textures of each cue during the scoring. For writing the cues I used my M Audio Hammer keyboard with my virtual instruments software from Spectrasonics and Spitfire.

By this point, I knew the episodes well and the feeling I wanted to convey with it. I opted for piano, some strings but also rhythmic elements and guitar in places. The music was softer and more melodic than what I usually write for Casefile.

After that initial scoring, I committed each MIDI track to audio with respective instruments, placed it on instrument audio tracks and ran through iZotope Neutron Mix assistant to get a quick premix of the instrument STEMS.

Once I had all the instruments on audio tracks, I mixed them to the narration. I use Icon platform M+ for my mixes. Each track corresponds to a single fader, and I simply ride the volume automation to mix the instruments together. 

After the first mix of the score I’ve exported the episode and sent it to Casefile host and Loren to review and make further notes.

At this stage, I would say that the episode is 90% completed – the editing, scoring and first premix are done the rest will be just making it all sound great and final tweaks.


The way that my templates are set up is that I have mixing plugins on each channel as well as mastering suites running at all times. This allows me for efficiency when working on podcasts. It means that I can hear somewhat mixed and mastered so when I get to the actual mixing stage, most of the work is already done.

For What’s Missing I had a simple set up with four mono narration tracks, score track, a stereo bus with reverb on it, stereo mixing bus and master track. All of the dialogue tracks were sent to Stereo Mix bus where a bit more EQ, compression and saturation was applied to glue them all together. The stereo audio track with the score was also sent through the mix bus.

And then on the master track I have Ozone 9 with EQ, compression and limiting set up to -16dB LUFS as well as a few other modules such as Imager and Exciter.

Because the dialogue was evened out with Leveler during editing and limiting is on as well I don’t really need to run automation on it. If there is a clip that needs fixing, I do it with a clip gain. I tweak music automation a little bit, but really I focus on making the dialogues and overall mix work as good as they can. I run the first pass on my mixing AKG K712 Pro headphones – that’s the first mix.

Then for the second time, I have several earbud headphones, and I listen to the whole episode once again switching the earbuds throughout to hear how it sounds on cheap consumer headphones. That’s two mixing stages that I always do.

Mastering is more of a QC process, but I do make final tweaks here and there. I listen to the episode again on AKG K712 Pro headphones, and I also have a codec preview set to MP3 192 or 128 kbits. This allows me to hear how the exported audio will sound with the lossy compression.


Once I listen to the episode for the last time, I select all tracks and bounce it down. For What’s Missing, I’ve also exported the audio as MP3 with the bitrate 128kbits. I reckon it was good enough for the quality and the size of this podcast.

We worked really hard to get it all down for the release, and we wanted the podcast out during the Missing Person week, which happens in Australia every year the first week of August. That meant getting the designs, website, marketing, RSS feed and everything else in order. The team worked together to make the process as smooth as possible.

While they were busy with sorting that out, I was making short 1-minute trailers for each episode as well as the extended 6-minute trailer to be featured on Casefile feed, our YouTube channel and other places as well.

Everything was ready to go, and we’ve released the first episode on Friday 30th of July with other episodes coming out every Tuesday after.

Loren’s wife MK had done a fantastic job on the look of the podcast as she designed the logo and artwork. Paulina took care of the website, podcast uploads and release as well as other graphics. The Host and Loren had their hand on marketing and driving the awareness to the show.

All went great and without a hitch and I’d like to thank everyone who took part in this fantastic project.


But going back to the production process. What did I learn? What would I do differently?

In hindsight, I would take more time selecting the right studio and make sure they are what I’m looking for. Recording wise, I would probably have the signal a bit louder at the source and of course, get the electronics out of the room. Also making sure the temperature of the room is comfortable for everyone, especially during the long days.

Editing and production?

There are lessons there for sure. It was the first big project outside of Casefile, and I think that initially, I thought I will apply the same workflow, same processes and it will work fine. So I overplayed my hand here a little bit. Doing it again, I would spend more time adjusting the mix, working on getting the ambient tone right and deciding on the noise floor for the background fill. Also checking the noise on earbuds a bit more.

I was happy with the music and story parts, I would spend a bit more time on the chat and sorting some issues with that.

Overall, it was a challenging project, both in a subject matter and production. However, everyone was pleased with the outcome, and it was an amazing experience for everyone involved.


The Vanishing of Vivienne Cameron



Casefile Presents, The Vanishing of Vivienne Cameron is a new podcast that delves into the Phillip Island murder that captivated Casefile listeners worldwide.

Join Casefile and Vikki Petraitis, co-author of The Phillip Island Murder, as she explores the case in a series of compelling episodes bound to keep you hooked from start to finish. Dive deeper into the details of the victims, forensics, and the story, as Vikki takes you back to Phillip Island to understand – what really happened that night… and where is Vivienne?


The killing of Beth Bernard and the missing case of Vivienne Cameron was released as Casefile episode on April 8 2018, and it quickly became one of the most popular Casefile podcasts.

It became clear that a deep dive into the case could be the perfect project for our first collaboration with Vikki Petraitis. Not only she interviewed the people involved in the story over 30 years ago, but she also published the book on the case in 1993 called The Phillip Island Murder (with Paul Daley)On top of that, she had original recordings from all that time ago that we could use!

We decided that the podcast will be a scripted show with Vikki being the primary host. The episodes would include the intro by Casefile’s Host, Vikki narrating the story and clips from many interviews that she’s done. It would be a 10 part series, with episodes ranging from 30 minutes to 1 hour.


We were lucky that Vikki’s family member Bec Petraitis had access to the recording studio, so the process was smooth. I was in contact with the studio, but given that the recordings were happening in Australia, I wasn’t present during the sessions.

 Once the recordings were done, I started receiving the files.


When I’m not part of the recording process, it sometimes can mean that the audio I receive from the sessions is not labelled or organised the way I want.

There were no such issues with this show. Vikki’s family member Bec works at a podcasting studio, and from the beginning, the communication was fast and professional. They were editing the sessions over there, so the main story flow would be prepared beforehand. Therefore I asked for unprocessed, uncompressed stems from each track, each being the length of the full episode.

During my first edit, I was looking at the flow of the episode. I am inserting silence, pauses and gaps. In some instances, making the intervals shorter and shifting the lines and words so it flows and makes for the smooth listening experience. I also started a document where I noted processes I used on every track – it helped me to stay consistent throughout the project.


In-depth clean-ups are merely processing the dialogues with my iZotope RX plugins. I run the main narration with my module chains, and that did a great job. I then manually cleaned up the rest from mouth noises, breaths, sibilance, lip smacks and so on.

Interview and archive clips required a bit of different treatment. Some clips were 30 years old, transferred from old cassettes to digital files, others were recorded recently when Vikki went back to Phillips Island.

Unfortunately, some clips were beyond my capabilities. I tried Dialogue Isolate, run various modules in RX, but nothing helped. We’ve discussed our options but in the end, decided on hiring a voice actor and dubbing the clips.



I went for Casefile style of scoring – having background music throughout the series, and that means quite a few hours of music. However, as we’ve already done this case back in 2018, as Case 80: Beth Barnard for Casefile I had music that I wrote for that episode.

Using the old music was too cheeky, but I also kept the MIDI files so, from the old MIDI compositions, I created new cues, with entirely new textures. On top of that, I wrote four new cues that were more melodic, more distinctive – these would be the main themes for the series. 

I made four versions of each cue which gave me a lot of freedom to play with the textures.


The plan for scoring was straightforward. I had four versions of each cue. For episode 1 I would use version 1, for episode 2 version 2 and so on. Then at episode 5, repeat it again and then mix and match for the last two episodes. Within each episode, I mixed the cues in the timeline, whatever texture worked best for the particular moment, which also created variety. 

However, I always opened and closed each episode with the same cue that I decided would be the central theme of the series – and my favourite as well. Once the music was on tracks and fitted the timeline – I started the mixes.


For mixing, I use my Icon M+ controller with motorised faders (which now I have upgraded do Avid S1), and I work on my AKG K712 Pro headphones.

Each cue has between 6-8 textures placed on stereo audio tracks. Before mixing, I run Mix Assistant within Neutron 3 to bring the best out of each track. I then use faders to mix the textures using volume automation. This happened with all the dialogues running.

When all the cues were mixed and bounced down, I then used a single fader to mix the score track to the dialogues and narration. This is a nuanced process, making the music fit better, so the tweaks to the automation are not outrageous.


I liked the fast progression at the end of the primary cue I wrote for the series. I isolated that part, made it so it starts and ends as it would be a closed, 30-second theme. I used over-saturated piano for the theme to give it a bit of an edge as well.


Most of the work was pretty straightforward – mixing the narration, cleaning up the clips from interviews and making sure that the music bed fits well. However, there also were a few more creatively demanding tasks.

First of all, in a lot of places, Vikki reads out other people’s statements. Be it friends of the family, family members or people involved in the case. I wanted these parts of the episode to sound different than narration.

I run the edits through a filter and adding some distortion. My goal was to make it sound like an old interview clip. Then there was Fergus Cameron track. We had his police statement but not a recording. 

So we’ve decided to hire a voice actor to read out these parts and similarly to Vikki’s readouts I treated Fergus’ track so it sounded as it would be recorded interview. Simple filtering and saturation helped me achieve this effect.

And the last task was to do with clips that I couldn’t save with restoration plugins. These were interviews from Dr Atchinson and Detective MacFayden.

After deliberation, we’ve decided to hire a voiceover artist to help. However, instead of replacing the files, we went for the old school dubbing method.

We’ve played the original for a couple of seconds, then lowered the volume and played the dubbed part on top. I also treated it with soft filters and saturation but didn’t want to overdo it as we already had plenty of distortion from original clips underneath.

I run a couple of passes, adjusting the plugins and automation. I was delighted with the results and was ready for the final feedback notes.


I exported the episodes in MP3 format 128kbps quality. I made sure it sounds good on computer speakers and headphones connected to the computer rather than via an audio interface.



The Vanishing of Vivienne Cameron podcast was the first show released in partnership with Spotify. That means the show would be released on Spotify for free on a set date, all episodes at once.

For the graphics, artwork, website and style of the visuals – Paulina, Casefile designer and my wife, has done several mockups and working closely with Vikki Petraits they decided on a final look. The artwork looked terrific, and everyone loved it.

Vikki has named the episodes, so Paulina created thumbnails for each and I included that in the metadata. For metadata, I’ve used a free app called Tag Editor. 

For marketing, Casefile Presents team and Spotify had several ideas which included trailers, RSS drops, social media campaign, video trailers, newsletter blasts and general advertising.

On my end, from selected lines and clips I’ve created two trailers – one 30second long and the other, longer 2 minute long. We’ve also created an RSS drop which teased episode 1 of the show, and that was to be included on Casefile feed.

For the time being, we had to remove the original Case 80 from Casefile feed. Instead of deleting the episode entirely, my idea was to replace it with an explanation why the episode is gone and include the call to action for Vanishing of Vivienne Cameron podcast.


The release was set on November 12, which was Thursday. From the start of the week, we were releasing teasers on our social media channels.

Paulina and I uploaded the series to Megaphone hosting and set to be released on 1 am November 12 Sydney time, which was 3 in the afternoon here in the UK on the 11th.

We also published an ad on the next Casefile episode and another RSS drop but this time with a part of Episode 1 of the podcast.

We wanted to stagger the marketing to share the show with the listeners continuously. 

Also, at the end of the year, we will publish a short message on our Casefile feed, before we go on a few weeks break – and we again advertise The Vanishing of Vivienne Cameron there.

On their end, Spotify also prepared a marketing campaign with a video trailer, article in a news outlet as well as promo on other shows.


It was our first show in partnership with Spotify, and it was an excellent opportunity to learn from their team. Of course, the more people are involved, the more challenging it gets to have everything in order, but everyone did their best, and the outcome was satisfying.

As far as the mistakes and lessons go, I usually have a transparent feedback loop where I send the files for review at every stage of my process.

With this project, I didn’t send anything until I’ve done the first pre-mix. I was lucky that everyone liked my work and that there weren’t any significant changes, but that was luck. It could easily have gone the other way, and that would mean a massive headache for me.

I realised this is not a great strategy going forward and for the next project, I reversed to what I usually do. It’s not about doubting my skills or being overconfident. But many elements can’t be predicted, and it’s safer to keep everyone involved, and ask questions!

Overall it was a great project and a fantastic experience. I was thrilled with the final podcast, and I hope the listeners will feel the same. We have things in works with Vikki as well, so stay tuned!


Casefile Edição Oficial Em Portugês



After re-releasing Silent Waves on Casefile Presents, a podcast about Raquel O’Brian family, Raquel was keen to do another project together. She proposed the idea of doing a  Brazilian Portuguese dub of Casefile episodes.

She said she would take care of translations, finding the right person to narrate, booking the studio and producing the whole thing. We agreed and she got to work!


Casefile catalogue has now around 180 episodes. We weren’t going to dub them all so we’ve decided to do it seasonally. The first season would feature ten selected episodes, and if it goes well we’ll do another.

We’ve made the selection and Raquel started translating the scripts. Her work was amazing with timecodes in places, original lines underneath the translation with notes and comments. Outstanding work.


Once she’s done the first script, we wanted to record the first episode to see it worked at all. Raquel found Portuguese narrator—who would also stay anonymous—selected the studio and supervised the session. I’ve done a quick job on the episode and we were happy with the result and we gave it a green light.

And then, the pandemic struck and Brazil went into lockdown!

The studios were shut and Raquel couldn’t produce further recordings. Actually, she did find one place that was open but after they recorded another episode it became clear that the recording was noisy and substandard so we’ve decided to wait until the regular place opens back again.

In the meantime Raquel was translating the rest of the episodes so no time was wasted.

After a few months they went back to the studio and recorded the rest of the episodes.


Before Casefile I worked at the movie studio – it was at the International Sound Department where we were prepping mixes for releases around the world. So in short – dubbings!

I was more than happy to do the edits myself.

The process was actually quite simple as it mirrored what I do for Casefile.

When I got the recording they were in good shape already. One uncompressed wav file, no mistakes, everything narrated to the script.

I used exactly the same template I use for Casefile, but adjusted EQs and compressors for the new voice. It wasn’t a huge difference though.

In the corner of the monitor I had Stickies with the script – both English and Portuguese, so I knew where to make pauses and follow the script. A similar process to what I do with actual Casefile episodes.

After that was done I’ve run the whole narration through Izotope RX. In there I put in through a module chain I use for Casefile with various de-clicks, de-noise and so on. 

I then used Leveler to even out the dynamic range. I’ve applied Strip Silence in Pro Tools and filled the space between the sentences with neutral background noise I’ve created in Ambience Fill.

It was very smooth however the issue was that Strip Silence cut out the ending on some words. It wasn’t ideal but it was a compromise to get the process done quickly. Of course these issues had to be corrected later on.

First of all, I had a muted original recording above the processed one, so I could see the cut offs in some instances and fix it myself.

I also told Raquel to watch out for that issue.

It may sound strange that I was ok with that but again, it happened only a few times in the narration and the upside I gained from streamlining the process was greater than the fixes.

Scoring AND DRAFT 1

I’ve imported the score from the Casefile originals and run through the whole episode adjusting the automation as well as the placement of the cues. The Portuguese narration did not exactly match the Australian so I had to make some changes.

For the newest episodes, it was quite easy as importing both mine and Andrew’s score tracks into the session.

For a few old ones, the process was a bit more interesting! These were from the times where I was just learning the ropes of podcasting and podcast production – the mixes were in mono!

For one episode I actually used music from another later episode but for a couple I wanted to use the old score as it sounded old-school and it made it more fun, in my opinion.

What I’ve done with that old mono score is I added Ozone Imager on the track which converted it into stereo. I could then adjust the spread in the plugin. It’s not a proper stereo of course but it made it more spacious. I had a lot of fun doing that!


Raquel can speak the language so she was doing the first QC pass, that is quality control.

She listened to the episodes on her headphones and came back with a list of notes to fix – sound issues, things to re-record, things to move, adjustments and of course cut off words.

She was absolutely amazing and back in the studio days she would be on my QC-ing team, no doubt about it!

I’ve done the fixes, then listened to the episode once again, this time on my earbuds. I have a few pairs and was switching between them throughout to check how it sounds on different ones.

I had also switched on the Codec option on Ozone 9 which gave me indication how the audio would sound when compressed to MP3 128kbps format.

I’ve made further adjustments to the mix and exported the episodes as finals.


For the design, we stuck with original Casefile artwork but we also wanted it to stand out a little. Casefile artworks have a blue tonality to it, so I’ve proposed on going green for the Portuguese version – as it was also inspired by the Brazillian flag.

For the name, we left Casefile but added the Portuguese version in the name.

Paulina also prepared a simple website as well as Instagram feed to go with the release. The feed would include teasers in Portuguese, photos for each episode and the name of the episodes.

Raquel translated everything into the language and Paulina worked on the designs. It was a fantastic team effort.


The release was set on the 17th of November 2020 with the second episode coming out a few days later. We’ve decided to release two episodes per week and with ten episodes in total that would be five weeks of releases.

Casefile Host and Raquel also worked on the marketing campaign. They’ve contacted a few influencers and prepared the ads. We’ve also run geo-targeted ads for Casefile listeners and shared the series on our social media.

Majority of Casefile listeners are from English speaking countries however we get listens from all around the world and you never know who could be interested in the Portuguese version!


It’s funny because for most people dubbing their shows would mean hiring producers who speak the same language and re-doing the work.

For me it felt like I was back at the movie studio! It was actually a bit bizarre that my work went full circle but I was glad that I could be of help and that we didn’t have to look anywhere else to do these episodes.

Of course if the dubbed series becomes a success and we decide to do more, we will get help as unfortunately I have to sleep sometimes but for now it was a really fun project.





Pseudocide is a series about faking your own death. Over nine stories, a bomb explodes in a Sydney suburb; murder is afoot in Texas; a spy takes his secrets to the grave, and a nun goes on the run. What’s it like to live twice? 


I met Poppy and Alice in London in December 2019, and we talked about their idea and vision for the project.

Pseudocide would tackle the subject of people faking their deaths, and the podcast would have nine episodes, each diving into a separate story. Poppy and Alice would narrate the show and interview people connected to these pseudocide stories.

My job would be to take care of post-production as well as the music.


The lockdowns of 2020 changed their plans; many interviews had to be done over the internet or the phone. In the meantime, they also sent the scripts so we can have a read and offer our feedback. Before jumping into the studio, Poppy and Alice recorded a ‘temp’ narration to explain how the episodes would sound.


Once the interviews and narration were in place, it was time for me to start. That was at the beginning of 2021.

Alice and Poppy created episodes in Descript, a hybrid audio and text software where producers can edit the auto-generated text from the imported audio. The program will edit the sound.

It’s the second time I had to deal with Descript, and although they did improve a lot, there were still a lot of issues I had upon the export. I work in Pro Tools, and moving the sessions from Descript wasn’t as easy.

Some episodes were more complicated than others, but I started with my podcasting template and adjusted it to the projects – creating new tracks and layouts.

I’ve used iZotope RX to clean the dialogues and even out the volumes. Because there were many different interviews, ranging in quality, I had to customise my presets and setting with each session. I was able to create a room tone and presets, which helped a lot.


Scoring Pseudocide was a challenge. In the beginning, I approached the project similarly to how I work on Casefile and other true crime podcasts. I created several music cues, then did remixes of these and went for the same Casefile style. 

I’ve scored one of the episodes with temp narration over Christmas 2020 and spend a couple of weeks creating the cues for the rest of the episodes. Well, that wasn’t the best idea. My work completely missed the mark as Poppy and Alice wanted something more lighthearted, definitely not in the style of our other true crime shows – and they didn’t want that much music. They wanted short cues and stings that pop in and out in various parts of the episodes.

I went back to the drawing board. I sent them another draft with short cues and a different approach – this time, it was more like it.

Creating music for Pseudocide meant using a different kind of tools I usually use. The hardest one was the central theme, but I knew I had a winner after a few ideas.

Each episode would have its sound and the main theme would be remixed to a particular style. A spy episode with pianos, internet episode with electronic music, medieval story with choirs and organs. However, each episode would finish with the original version of the theme music. I created original cues for each episode and played with the tone, instrumentation and styles.

I used VI from Spectrasonics, Spitfire, XO, Stylus RMX.


Poppy and Alice wanted a direct sound with minimal reverbs and processing. It took a bit of back and forth, but I achieved the effect with just simple EQ and compressions, stripping my plugins to a minimum.

The music was mixed louder than in my other projects as the idea behind the score was different. It wasn’t a constant background score but rather an element that indicated significant moments.

I also had a chance to do some creative sound design in a few episodes.

In the internet-theme episode, I used Stutter and Doublers and panning and other effects to create a modulated effect. In others, I played with echo and pannings.

We also had a couple of episodes with dubbings and actors, where I treated the audio with saturation and creative EQ.


As I worked on different elements, I would export the episodes for their review and get notes and feedback in return. We ended up with eight drafts in total and dozens of pages of notes and suggestions.

It was a lot of work but a highly collaborative project where everyone wanted to improve even the tiniest detail.


I’ve QC’d the episodes on my headphones AKG K712 pro, as well as several customer earbuds. The final QC I did on my ADAM studio monitors. Where I could, I used Sonarworks Reference 4 to hear a flattened and neutral mix. Even on the very last draft, I still played with the flow and adjusted things here and there.


As per usual, Paulina took care of the designs and, together with Poppy and Alice, came up with fantastic artwork and style for the podcast. She also created a website, artworks and thumbnails for each episode.


The biggest lesson from this project was how easily my habits and workflows could bind me. I’m so used to working with true crime podcasts that my first approach was to treat Pseudocide the same way. Fortunately, Poppy and Alice had a strong vision for their project and could articulate it well.

I’m not going to lie – it was a challenge to edit and solve issues with Descript to create original music and sound design in places. 

The project took me out of my comfort zone, and even though I felt overwhelmed in moments, I knew that this is an excellent opportunity to learn and push myself.

It is so easy to rely on templates, structures and habits that we accumulated over the years. However, constantly pushing ourselves, taking on new challenges, and learning and admitting mistakes is how we grow.


The Labyrinth



We met Ottavia McHenry through her podcast, Missing Alissa; she was the host and executive producer on the series. Casefile host knew he wanted to work with Ottavia in the future, and it was only a matter of time. She came back with an idea to do an investigative series on a missing woman in Arizona national park, 44-year-old Janet Castrejon.

Ottavia would speak to the police, the family, and people involved in the case and investigate other cases of missing persons in national parks. The plan sounded fantastic, and Ottavia got to work.


It took a lot of time and effort to bring the show to the finish line. Ottavia started in 2018 on the story! The recording took place in various locations, which meant that some clips had better audio quality than others.

We had telephone interviews, location recordings, recordings in the car – all required a lot of work from Ottavia, both in logistics and archiving and cataloguing the audio. She was recording the narration at her home, which also came with some problems.


Ottavia created the episodes in Descript – a text/audio software that makes it easy to edit the narrative. 

On the last project, Pseudocide, I learned how to export from Descript to Pro Tools, but I didn’t know how to do that on The Labyrinth. So I’ve exported the episodes as one stereo wave file and then had to cut the dialogues into separate tracks according to the scripts – it was quite a bit of work!

Apart from that, there were many audio clips and interviews with varied sound quality.

In that case, I always go with intelligibility over quality. So I’m cutting lows, and I’m cutting highs. I’m boosting mids – anything so the listener can understand what is being said in the clip.

Fortunately, as a non-native English speaker, this helps me make difficult decisions.


We talked with Ottavia about the music, and she had a particular vision for it. First, she wanted a western/country feel to the podcast.

In the beginning, I struggled with it, and the first ideas weren’t what she had in mind – too much Casefile influence. But I’ve researched and limited myself to a few instruments such as steel guitars, bass and simple flute-like pads.

It worked, and Ottavia was happy with the final results!

The music served as a bed underneath the dialogues, similar to what I do for Casefile. Thus, staying in the background most of the time. The only problem I had was with the theme music. I couldn’t get it right.

It was time for a different solution, and looking at royalty-free websites, I found a piece of music that I thought would be perfect for the series! I used it on the intros, outros and trailers and have no shame about it; it works great!


The mix was a tough job as I had to get all the clips even and comprehensible. I added the score as a musical bed to fill the low frequencies and add an emotional feel to the series. So it’s there, but you have to listen on the headphones to hear the details.

The biggest problem I had was with the narration. Ottavia recorded at home, and that came with lots of issues – noise floor was high, and when I brought the levels up – so did the hiss. Getting rid of the hiss meant the narration became dull with no top end.

In the end, I had to compromise and tried to make it sound radio-like. I’m not 100% happy with it, but it works. Next time we are booking a vocal booth, though!

We dubbed the dialogues for some of the Spanish; for some, we left them alone to add authenticity to the story.



We had four drafts in total, and throughout the job, I was getting QC notes from Casefile host and Ottavia – we have also done many pickups and re-records.

It was a pretty straightforward process, getting the episodes ready. After that, it was all about organising it well.


I started my work on the series in July 2020, it got pushed back a few times, but it was all finished in December 2020. So another eight months before the release!

I had another listen just before the release to check if all sounded ok.



As usual, Paulina took care of the designs and, together with Ottavia, came up with fantastic artwork and style for the podcast. The artwork showed the nature of the podcast, with the labyrinth being the centrepiece.

Paulina also created a website, artworks and thumbnails for each episode.


Spotify organised the release, and from our assets, we created visual and audio trailers. It looked terrific! We also run ads on Casefile episodes for a few weeks.


There were several lessons I learned on this project.

One was – if we can, always book a vocal booth for the narration. It’s just easier to deal with, and the final audio is so much better.

I know where to push myself with music, but I’m also open to other ideas – such as getting the theme from a royalty-free website rather than trying to come up with something for days on end.

Editing took a long time. However, this was not a project that I worked on full time – we had a few delays and, in the end, waited a long time before the release – fortunately, it is out now!

Patience is a virtue (sometimes!)

My biggest thing was that I moved to a new place; I upgraded my studio and upgraded a few plugins. But, going back and relistening to the series before the release, I worried that my final mixes wouldn’t be up to current standards, and I would have to rework my mixes. However, I was happy with the drafts I finalised before and didn’t have to tweak as much.

Overall it was a great project, and I’m grateful that I could help out on it. Hopefully, there will be another season in the future!


Searching for Sarah MacDiarmid



Searching for Sarah MacDiarmid takes a close look at Sarah’s disappearance in July 1990 from the Kananook railway station. Author Vikki Petraitis interviews family, friends, and lead investigators to try and find out what happened to Sarah. 


The case has been suggested through a ‘Submit a case’—the disappearance of 23-year-old Sarah MacDiarmid from the Kananook Railway Station on the 11th of July 1990. 

Vikki Petraitis had just finished making The Vanishing of Vivienne Cameron, and we thought: who better to tackle this case than Vikki? Her book The Frankston Murders, about serial killer Paul Denyer, touched on the disappearance of Sarah MacDiarmid and another unsolved murder in Frankston around that time.

That’s how the idea for the Searching for Sarah podcast was born. The family and the investigators were on board, so Vikki got to work.


Vikki Petraitis recorded many people connected to the case – 50 in total! There were interviews recorded in person, over the phone and internet, and the narration was recorded in the studio. We transcribed the audio so it could be easily edited into scripts.

It was Vikki’s 2nd podcast after The Vanishing of Vivienne Cameron, and the process was smoother and easier to organise. It was still a lot of work, though! Australia’s lockdowns made it impossible to record some people in person, hence why many interviews, like I said, were made with different means.


Vikki’s niece Bec did the first edit – going through the takes and putting together the audio. My role was in post-production, so I didn’t have to deal with it – cheeky!

She’s done a great job organising the files and exported them to me as bounced dialogues so that each person had their separate track, bounced to the episode’s length. I could import it into Pro Tools and do my thing.

There were a lot of interviews. I mapped it out in Google Sheets to know in which episode a person appears – this helped me stay on top of the settings.

And, of course, I used iZotope tools for editing.


I wrote several music cues for the series and made a different version of each cue – classic, drama, pads and guitar. It helped keep the music bed varied and gave me options when scoring.

I used a mixture of Omnisphere, Native Instruments, Spitfire and Addictive Drummer from XLN.

After creating my music library for the series, I scored it to the episodes, mixing the instruments and textures.

I used music from one of the cues I wrote for the central theme but built it from scratch to fit the short intro/outro theme.


It was a tough job with the mix having so many different dialogue tracks; plus, as I changed a global setting, I had to copy it to all episodes. I used the true and tested plugins from iZotope but had a few new additions!

I used Fresh Air from Slate on the master, which solved my issue with the dark sound of the audio, I love the plugin, and it was free. Amazing.

Notably, the narration was lacking in these higher frequencies, but that was due to the recording microphone, and I will touch on it briefly.

I used Oxford Inflator on the mix bus to push the volume and presence of the whole show.

 The most significant change was that just before working on the final draft, I got a new interface – UA Apollo Twin X and with that came plugins.

In the end, I used Lil Labs VoG on mix bus to add a bit of low-frequency resonance to the episode – it’s risky, I know! Plus Oxide, which gave it a nice warm feel. I did have a massive problem with a Delay Compensation caused by the RX De-reverb plugin.

Thankfully I could fix it near the deadline – but that was stressful.


We had four drafts in total, and throughout, I got QC notes from the Casefile host and Vikki – we also did many pickups and re-records.

It was a pretty straightforward process, getting the episodes ready. After that, it was all about organising it well.

I was still using Google Docs for QC, but moving forward, I prepped a template in Google Sheets, making it easier for me to track these notes.



Paulina took care of the designs and, together with Vikki, created fantastic artwork. She also created a website, artwork and thumbnails for each episode.

When we announced the project last year, we had artwork in place, but she changed it for the final release, although the same colours remained.


Spotify organised the release, and we created visual and audio trailers from our assets. Paulina did a fantastic job creating the video trailer; check it out if you haven’t seen it.

Anthony, Casefile Host, Vikki and I worked on the audio clips, and I scored the final version with original music. We also run ads on CF episodes for a few weeks.


Searching For Sarah was a fantastic project that came together in the end. It was demanding edit and mix-wise, but we all like a good challenge.

I could utilise new libraries by writing music and be happy with the final results. However, for the next project, I will keep track of what cues I’m using here, which will help me stay on top; I haven’t done that for this project and was freestyling a bit, which was also fun.

I did include new plugins just before the completion, which was a risky move, but ultimately, I felt that they added to the sound of the show – ideally, I would work with that setup a bit longer and adjust it a bit better, but sometimes you have to take that risk.

Vikki recorded her narration on Audio Technika AT2020; that’s the second podcast she’s narrated. It’s a fine microphone, but I feel like it doesn’t work on her voice, and she lacks presence because of that. For the next project she narrates, we plan on getting a different mic for her.

The biggest issue I had was with delay compensation; I half-fixed it when mixing the show, but when I added the new plugins, the problem became evident, and because of that, I had to find a solution. And I did!  Just as I was working on finals. It was a great bit of luck, and I’m so happy I could sort it. It’s one of these things that I never had problems with before, so it took me by surprise – we’ve got to stay on our toes!


Crime Interrupted



Crime Interrupted is a six-episode series that’s narrated by the Casefile host and features in-depth interviews with the officers who solved these crimes. Hear how the Australian Federal Police captured an online sex offender who was preying on children, the story of a human trafficking syndicate the agency successfully disrupted, and many more complex and challenging operations.

The Idea

The idea was proposed to us through a marketing agency working with the Australian Federal Police. The Australian Federal Police (AFP) is the national and principal federal law enforcement agency of the Australian Government with the unique role of investigating crime and protecting the national security of the Commonwealth of Australia. That’s from Wikipedia!

The AFP wanted to run a campaign promoting the agency and recruitment, and a part of that campaign was a podcast. Six separate stories, significant cases that APF solved.

I think they either heard of Casefile or have fans in the AFP because they wanted to partner with us for the show.

We, of course, agreed as it is not easy to have that kind of privileged access to criminal cases and investigators!


Vikki Petraitis, the Australian true crime author and podcaster with whom we’ve released two Casefile Presents shows – The Vanishing of Vivienne Cameron and Searching for Sarah, was tasked with writing the show and interviewing the AFP investigators.

Our Casefile anonymous host would narrate the show, and then Anthony and I would work on the audio side. Vikki had access to the cases and investigators and crafted the stories with the help of our Casefile host.


Much of the material had to be transcribed, edited, and cut to fit the narrative. Each episode would tell a different story, so we had to start from scratch each time. Our Casefile host recorded his lines in a vocal booth, so that was easy enough – good quality and quick to put together.

The interviews were a different story. First, some audio clips had better quality than others and had a lot of fillers, stutters and mistakes that had to be cut. Anthony, our Casefile editor, reviewed the episodes and put them together in a session for me. He did all of the cuts and the preliminary pacing work.

When I got the sessions from him, I imported the audio into my templates. Then, I went through it again, correcting the pacing and cutting the leftover mistakes and fillers. After that, we’ve run the dialogues through RX to eliminate the noise, clips and other imperfections.

Throughout the work, I’ve been exporting the drafts and working on additional notes and fixes – each episode went through many interactions.


For the scoring, I wanted to write synth-based music. However, the last score I wrote was heavily acoustic, so I wanted to go in a different direction for this one. Therefore, I mostly used Omnisphere 2 for the music and purchased new libraries for Omni from Lufdstrum. These are great and worked perfectly for what I wanted.

I wrote nine musical cues, each consisting of several textures. Then created three versions of each cue plus additional ‘pad-like’ versions.

So 5×9, I’ve ended up with 45 music cues with hundreds of textures that I could mix and match. Enough to fill many more than just six episodes! It was fun.

I initially composed an energetic theme with a beat for the central theme. I was also tasked with working on the promotional video, and my initial piece did not work with it. So I scrapped it, wrote a new one which was much darker in tone and used it in the trailer video.


Mix was relatively easy, and I was surprised that even my first draft sounded pretty alright! I used my initial Casefile settings as this show was very much Casefile-like in the soundscape.

I adjusted the EQ and Compressors, but there wasn’t much I’ve done here. I used my template to balance the audio.

I mixed the musical cues to the podcast and tried to keep it varied. I then bounced them down into a stereo file and ran the automation, remixing it.

Again, it was pretty straightforward as I didn’t want to do much experimenting on this show, and as it was a classic true crime podcast, I wanted to keep it in our style. Also, I didn’t have much time and had very tight deadlines.


I work to produce and export the drafts as quickly as possible. Even when the music is not matching, the levels are all over the place, or some pacing is not there yet.

However, I want other people’s input rather than wait until the end and change it all again.

I was getting feedback notes throughout, and it mainly required me to cut the podcast’s content and lines. Which always makes it tricky because the score is already mixed in. This requires some creative editing and shifting clips around!



Paulina, our designer, took inspiration from the video and colour scape that the marketing agency provided and made a great-looking logo for the podcast.

We skipped the complete separate website for the show and instead created a page on our Casefile Presents website.


The show was released on the 4th of February 2022, and the six episodes were released weekly.

We’ve created an audio trailer that we’ve posted on the Casefile feed and at the end of Casefile episodes, plus there was a video that accompanied the podcast. The show was released on every podcasting platform, free to listen to anyone.


Because we were working with marketing and government agencies, many more people were involved than usual.

Given the material and privileged access, the scripts and episodes went through several persons to get approval. Same with other assets. This requires time and, of course, slows things down. Fortunately, my experience taught me to prepare as much as possible.

We are always at the end of the pipeline in post-production, chasing deadlines. It doesn’t matter if it’s podcasts, movies, TV or other work. We are constantly working against the clock.

But! In that case, we don’t despair, but we prepare. The templates, the music libraries, the early drafts, the notes. If we were to wait until everything was ready and perfect, we wouldn’t be able to do the job.

The biggest lesson from this project wasn’t a new lesson but a reassurance that the approach works. We were able to produce a pretty fantastic podcast that the listeners all around the world enjoyed.

Partnered with the marketing agency Havas the podcast also won a few prestigious awards – Wooden Pencils and Cannes Lions!





When 22-year-old Sian O’Callaghan went missing, Detective Steve Fulcher arrested a suspect who offered to lead him to her body. The suspect then asked, ‘Do you want another one?’ What would you have done?


The idea for the podcast came from British BBC producer James Bray who worked on hundreds of documentaries and other media. He had access to recordings from the detective Steven Fulcher, families and people involved in the case.

If I am not mistaken, the original recordings were done for a short TV documentary, and there was a lot of audio that they never used.

James wanted to dive deeply into the case and release it as a podcast.

This idea particularly interested our Casefile host. We’ve covered the case in the first year of Casefile as Case 35: Operation Mayan, and it was one of these stories that stayed on our minds. So this provided a fantastic opportunity to tell the story in depth, not just as one stand-alone episode.

We agreed to do the project, and everyone got to work!


James Bray had created the arch of the series, the overall idea. We then brought Vikki Petraitis to give us a hand with the writing.

Vikki Petraitis, the Australian true crime author and podcaster with whom we’ve released a few Casefile Presents shows (The Vanishing of Vivienne Cameron, Searching for Sarah, and Crime Interrupted) took on the script writing and helped to shape the story.

The plan was that our Casefile anonymous host would narrate the show, and then Anthony and I would work on the audio side of things.

Because most of the interviews were already done, we hadn’t recorded much for this series. However, Vikki wanted a few more clips from detective Fulcher, and he recorded these for us.


Initially, the material was edited by James Bray; he then sent it to us. He used video software to edit the interviews and left gaps in the narration. However, as Vikki was working on the scripts, there were changes to make.

Anthony, our audio editor, took over and worked on the initial edit according to the scripts and the changes. Once we had the narration recorded by our Casefile host, Anthony imported the clips into the sessions, prepped them, and sent them to me.

The process was straightforward. Multiple people were participating in the series; however, it wasn’t overwhelming. 

The biggest issue was that Steven Fulcher’s dialogue was recorded in multiple places, so his clips needed further treatment. We couldn’t just put everything on one track for him.


For the scoring, I wanted to try something different. So before we started the series, I got myself Native Instruments Komplete 88 and their libraries – Collector’s edition.

I usually work with synths, pads and ambience sounds. I decided to do something else for The Detective’s Dilemma and risk it a bit.

I wanted three styles of music.

– noir with piano, sax and bass to add that vibe

– orchestral with strings and percussion

– experimental, textural ambience.

I wrote several cues and then remixed them with different textures to build my library. Because I was learning the Native Instruments software simultaneously, the session was a bit chaotic—much more than usual. However, I enjoyed it, and even though I was a bit nervous about stepping outside my comfort zone, it was great fun.

I took a bit out of one of the cues for the theme music and then re-done it as a short intro/outro series theme.


For the mix, I wanted to create a film noir vibe. As Anthony described – ‘it sounds like a story told in a smokey detective’s office’, and that is what I was going for.

To do so, I used Oxide and other plugins to push the saturation on the dialogues – just a tiny bit. But, of course, I also used the music and experimental textures to create that vibe.

I didn’t want to go overboard and make it sounds cheesy, so it was a delicate balance.

I did use simple filtering and reverbs on some scenes, like the chat between Fulcher and Halliwell, as well as when the judges were reading their verdicts.

Our Casefile host narrated these parts, so I added these effects to make a distinction during the scene.

The rest was standard pacing work and automating the volumes and the music.


Draft 3 was nearly the final, and it was 99% there. 

I was a bit nervous about my approach for the series and my vision, but fortunately, the team liked it, so I continued onwards. The series was finished before Christmas 2021, but we were still waiting on legal approval before March 2022 release.

Once we got the green light, I exported the finals.



Our podcast designer Paulina created a few different artworks, but everyone liked the one with Fulcher’s face on the cover. It gave that feeling of a classic true crime story, and it fitted well with the vibe of the podcast.

We skipped the complete separate website for the show and instead created a page on our Casefile Presents website.


The show was released on the 14th of March 2022, and all episodes were released on our Casefile Presents channel on Spotify.

We’ve created an audio trailer posted on the Casefile feed and at the end of Casefile episodes, plus a video accompanying the podcast.

We organised the launch with the Spotify team, who supported us along the way.


It was a project that I was nervous about, but by the end of it, it became my personal favourite. My lesson on this one was to experiment more and not to be afraid of new ideas – that is the only way we grow.

I got myself a new set of libraries, and at that time, I was also watching a few online courses from Think Space Education, run by film composer Guy Michelmore. 

I was learning about harmony and approach to composition, and the courses prompted me to try something new.

It is always scary when we do that, especially when we know others will hear it and then judge it. However, it is much easier to give way to our established habits and patterns, and that’s when things go stale and boring.

Do new ideas always work? No! But I’m happy to get feedback from the team and change things. But the initial vision drives me and helps me face these challenges.





When 20-year-old Matthew Leveson failed to return home after a night out clubbing in Sydney, his loved ones were worried sick. Matty was a trustworthy, warm, and caring young man who adored his friends and family, not the type of person who would just take off without a word. Suspicion soon fell on Matt’s partner, 45-year-old Michael Atkins, after it was revealed that the pair were fighting on the night of Matt’s disappearance. But was that unfortunate timing, or did Atkins have something to hide?

The Idea

We’ve released What’s Missing – our podcast made with Loren O’Keeffe, the founder of Missing Persons Advocacy Network (MPAN), in July 2020. We always knew we wanted to do another project with Loren, as her passion and drive are incredible.

This time, however, in contrast to What’s Missing, we wanted to focus on one case: Matty Leveson’s disappearance and his parents’ quest for justice.

Loren was the host of the series – 10 episodes in total, and she would also interview the parents Faye and Mark, who agreed to participate in the project.


The recording was split into two separate stages. The first would be recording the Levesons interview in their house. Casefile Host and Anthony supervised the session as Loren interviewed Mark and Faye for the podcast. Each of them was mic’d and recorded. But, of course, there was a bleed on their microphones because they were conversing simultaneously.

After the narrative was composed, Loren recorded in the studio on Neumann U87 – a classic condenser microphone.

The narration took place over a few days, months after the initial interview with the parents. The extra recording session was scheduled for EP7 – the reenactment of the coronial inquest. Unfortunately, we couldn’t secure the original recordings, so we’ve organised the actors who recorded the questioning in court word for word. This was acted out at the same time in one room.


There was a lot of work for the team. First, the interview had to be transcribed, and the podcast structure was organised from the transcription. The easy part was that (besides the actors in EP7) we only had Loren, Mark and Faye on the podcast. The tricky part was that after the cuts in the transcription were made, Anthony had to sift through all of it and find the relevant clips. Dialogue editing at its finest!

Then, recording Loren and choosing the takes was a much easier process. With the editing and clean-ups, we worked together with Anthony. I took over Loren’s narration, but he has done most of the work on the interview. It was a simple RX job, but it took time. We used a mixture of module chains and manual clean-ups.

The interview had several problems. Because of the bleed on other microphones, I decided to mute it rather than leaving it in, as it brought up too much room noise. So I trimmed the bleed around the clips. On top of that, the audio was quite dynamic, going from quiet to loud often. I used a mixture of the Leveler and compression; however, in the end, I used a lot of manual clip gain to even out the interview. I also manually used De-breath to lower the volume of breaths. It never works as a global process.

Loren’s narration did have some issues. One was that, unfortunately, U87 didn’t work well on her voice. It’s a great mic. However, Loren has a bright voice and U87 exposed it and made it sibilant. Also, lip smacks and mouth noises were exposed. After cleaning up with RX, I had to do quite a job to make it less bright.

On top of it, the recording quality varied daily, and because the studio wasn’t completely isolated, I had to deal with passing cars and buses. And for the last two episodes, there was quite a lot of rustling noise on the recording, as I assume Loren changed her clothes.

The recording engineer could have noticed and sorted all that, but sometimes these things get missed. Because of the variety in the recording, creating one background room noise did not work, so I had to watch out for that. I also decided to leave that room noise out of the episode. Usually, it glues the clips together, but it was too noisy in this instance.


For the score, I wanted to keep it minimalistic, and ‘sentimental’ as this was the vibe from the show, not in a corny way but in a good, passionate. This story was about the parents talking about their loved son, and the music needed to reflect that.

I used a mixture of string instruments, pads and piano – nothing too complicated. I also started an orchestration course during the series but finished the score before I purchased BBC Symphony Orchestra and got into orchestrating deeper. So there is some of that here, and I will try to incorporate it more in the future scores.

I wrote 20 musical cues and used them throughout the episodes. My idea was to use them during Loren’s narration rather than during the interview. And everyone loved the effect. 

So this was more a standard scoring way than what I do for Casefile (and some other shows), which has continuous background music. As I was redesigning my scoring template to build my orchestral session, this score got some of that treatment.


The mix was, in one part, easy and challenging simultaneously. It was easy to set EQs and compression as I wanted to keep it as natural as possible, so there weren’t many effects or modules I used. A few reverbs for VOs, effect for the ‘quotes’, and that’s it.

The tricky part was fitting the score cues plus balancing the dialogues, and here I had to do quite a bit of manual edits rather than rely on the Leveler and compressors. I also watched the noise floor and cleaned up the audio as I went through it. However, once most of it was in place, it was easy to go through and correct the sound.


Because Anthony and Casefile host were waiting for the first drafts to hear and make changes to the story, I exported the first draft after my first pacing cut – no music, no significant clean-ups. After that, I had quite a few QC notes to go through as they cut the material left, right and centre. After that, I fitted the score.

This time around we had fewer notes, so it was easier to shift the audio. Draft 2 was also sent to the family and Spotify, and they loved it. I’ve fixed the notes and mixed the Draft 3 version; after the minor tweaks, I exported the episodes as finals.



Loren’s wife designed the main logo, and Paulina helped develop the podcast’s page. With the help of Spotify’s team and Loren’s wife, we created social media posts and teasers.


The series was released on the 19th of September on the Casefile Presents channel, exclusively on Spotify. It was accompanied by ads, teasers, social media posts and RSS drops.


The biggest lesson for me was – how important it is to choose the right microphone for a person, especially a narrator. Unfortunately, I couldn’t join the recording sessions and suggest other microphones, but another mic would work better for Loren.

On top of that, my approach to production and scoring changed. It constantly evolves as I improve, but with multiple podcasts on the horizon, I knew this could be a chance for me to develop as a composer fully. Do not treat the shows as a cookie cutter, Casefile style but approach each one of them like you would have with a major movie or a game.

I did that on Matty; the writing, scoring and mix reflect that. However, gaps in my knowledge of orchestration and harmony were evident throughout the process. Therefore I decided to enrol in a master’s degree course in composition. It’s a 2-year part-time course that will help bring our shows even higher quality.

I purchased the entire orchestra library and redesigned my template, and I am ready for the next level in my journey.

I want to thank Loren, Matty’s parents Mark and Faye and the whole team for allowing me to participate in this fantastic project.

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