Joining us from Air Studios in 2014, George arrived with a wealth of music and recording knowledge after growing up playing trumpet and bass and completing the Tonmeister course at the University of Surrey.

At Abbey Road, he has been an invaluable asset on countless sessions for the likes of Noel Gallagher, Sheku Kanneh-Mason, Taylor Swift and more, as well as on film scores including both Black Panther films, 1917 and Solo: A Star Wars Story.

Read on to find out George’s Abbey Road story.

"Whilst there is a huge amount of history that is fascinating to delve into and draw inspiration from, it’s the community and the people here that mean most to me.

There’s always plenty of people to learn from, bounce ideas off, and develop how you work. It could be the engineers and technicians that have been here for decades, or it could be a new starter.

Everyone brings expertise about different things to the table and is always happy to share and collaborate."

It’s very difficult to choose the most memorable projects I’ve worked on as there are so many that resonate with me, and for so many different reasons. If I had to pick, a couple that spring to mind are:

Solo: A Star Wars Story. For this project I was mixing the musician’s headphones. This involved sitting with a mixing desk in front of the orchestra. In my normal role, during recording we are needed in the control room so rarely do we get to hear a full orchestra playing a score that great in the live room. It’s an incredibly powerful experience. As a (now very out of practice) trumpeter, the brass fanfares in that film are truly inspiring.

Sam Smith - Gloria. We recorded the string parts for several of the tracks on Sam Smith’s upcoming album. Not only did the tracks sound great but the whole team were so friendly and fun to work with. A few weeks after those sessions we were lucky enough to go on location to a church to record some organ and choir. Sometimes it’s the days that take you outside your comfort zone and force you to work in a different way that are the most rewarding.

I find that I learn new things most days in my role. The technology is constantly changing and whilst the core principle is the same, it’s important we keep up to date on the new features of Pro Tools as well as new digital and spatial audio formats.

Often we have to adapt to new situations. For example, remote recording has become a lot more frequent, so we have had to come up with ways to incorporate that in a more streamlined way.

I studied audio engineering before I started working here but really it wasn’t until my first day that I realised just how much there was to learn. Fortunately, it’s a great place to learn and everyone is prepared to teach you from the ground up.

I love that every project is different. Even two orchestral film scores will present different technical challenges as no project, score or workflow is the same.

We have lots of studios of different sizes so there’s opportunity to work across many different genres and styles of music. This means that the work is always exciting, dynamic and a good challenge.