Hello,
I’m Samuel Thomas, a broadcast sound designer and technical producer with a love of radio, audio storytelling and the craft that goes into making things sound right.
My main specialism is sound design. I create promos, imaging and broadcast audio for national radio, with a focus on clarity, pace, tone and editorial impact. Alongside that, I have built a wider technical production skillset across live radio, podcasts, video workflows, studio support and location filming.
In simple terms, I have become a bit of a Swiss Army knife for broadcasting. I can build the audio, support the studio, troubleshoot the kit, record the podcast, capture the video, edit the content and help get the final product ready for air or online.
My interest in sound design began in 2019, during my final year of college, when I created my first piece of audio: a very messy radio drama. It was not a masterpiece, but it was the project that made me realise how much I loved building a world with sound. I spent months recording, editing, learning, breaking things and slowly working out what made audio come alive.
It also taught me one of the most important lessons of my career: back everything up. Two months into the project, I lost almost all of it. Since then, every session, script, raw recording and project file gets backed up properly. I have been a proud data hoarder ever since.
Seven months later, I walked into Global’s Leicester Square headquarters as an apprentice, with fifteen months to prove myself in a world I had only recently discovered. I worked across Smooth, Classic FM and LBC, learning from different teams, different brands and very different styles of production.
That apprenticeship gave me a proper grounding in professional radio. I worked on station imaging, promotional campaigns, election coverage and large-scale production projects, including a major music rebrand involving hundreds of pieces of audio. It was a fast, intense introduction to the industry, but it gave me the foundation I still rely on today.
After my apprenticeship, I continued at LBC as a freelance Sound Designer and Technical Operator, before growing into my current role as Sound Designer for LBC. I now create and finish the majority of the sound design heard across LBC and LBC News, from promos and imaging to major news coverage and special programming.
One of the defining moments of my career so far was acting as Head of Sound Design during the coverage of the death and funeral of Queen Elizabeth II. I helped lead a small production team through one of the biggest national news events of 2022, producing sensitive, high-quality broadcast audio under significant pressure.
Alongside sound design, I have developed strong technical production experience in live radio environments. As a technical operator, I have worked on live output where there is no undo button, only preparation, focus and the ability to respond quickly when a programme changes direction.
I have also worked across podcast production, supporting studio recordings, guest sessions and technical workflows for high-profile interviews. That work has required attention to detail, calm communication and the ability to keep a recording running smoothly while presenters, producers and guests focus on the conversation.
My video experience has grown alongside my audio work. I have worked as a vision mixer and video editor, delivering regular live-streamed news broadcasting to a high professional standard. I also have run-and-gun video production experience using Sony A7S cameras, capturing material quickly on location for broadcast and digital platforms.
That mix of audio, video and technical production has given me experience working with senior political, diplomatic and public figures across live, recorded and location-based projects. Whether I am in a studio, on location, behind a desk or in an edit suite, I bring a calm, practical and professional approach to the job.
Seven years into my career, I still love the work. I care about great sound, strong ideas, clean production and the small details that make broadcast content feel effortless to the listener or viewer.
Orson Welles and The Mercury Theatre On Air team once “broke the radio”. I’d still like to be part of the next team that does.
Samuel Thomas