About

Client work goes better when I shut up and take notes first. I still bring decades of technical practice—but the part I am proudest of is hearing what you actually need, asking the boring follow-up questions, and reflecting that back in a plan you can recognize before we cut code or cut metal.

I've been tinkering since I was a kid—stealing parts from my older brother's broken RC cars, borrowing whatever I could from my dad's sandals, and scrounging bits to build motor boats for my action figures. They all sank. Learning isn't always tidy; for a while there was a dusty graveyard of mismatched sandals on the roof of the bungalow I grew up in. I never really stopped experimenting—I just got better at knowing what "good enough to try" looks like before you commit glue and time.

As a teenager I went deep on stage work—backstage and onstage—and I started treating computers the same way I treated shop projects: another set of tools for getting something from idea to working reality. Nobody handed me a curriculum; I learned to program because I needed software that didn't exist yet, and I've been building my own tools ever since.

That's carried into almost thirty years around live entertainment—venues, promoting, playing in bands—and into the work I do for clients now. I've also lost count of platforms that fight you: rent someone else's product and wear their branding, or duct-tape a site together and hit a wall the week before you launch. So I learned to build properly: systems you can maintain, hosting you can reason about, and hardware or software that doesn't fall apart because the spec looked fine on paper.

I'm still practising. A good rig takes reps; good code and good builds do too. If you've got a half-formed idea, a stubborn problem, or something that has to work on Friday night, I'm easy to reach.