Sam Glossop ​​​| Sound Designer
You can edit text on your website by double clicking on a text box on your website. Alternatively, when you select a text box a settings menu will appear. Selecting 'Edit Text' from this menu will also allow you to edit the text within this text box. Remember to keep your wording friendly, approachable and easy to understand as if you were talking to your customer
London/South Yorkshire based Sound Designer 

Sam graduated in 2012 from Leeds Met with a degree in Music Production. He now works as a freelance sound designer, 
Design work includes: By Jeeves directed by Alan Ayckbourn, Gracie (Finborough Theatre) San Domino (Tristan Bates Theatre) The TempestA Midsummer Night's Dream (Greenwhich Theatre) Pete ’n’ Keely (Tristan Bates Theatre), The Nest (53two), Hospital Food, Musical Differences, Basset, Hearts for NT connections (Sheffield Crucible Studio), Dinosaur Dreams (Etcetera Theatre), Antigone in New York (Rag Factory), Crazy Locomotive (Cockpit Theatre), Beetles from the West (The Hope Theatre), Blown Youth (New Wimbledon Studio), Henna Nights (New Diorama Theatre), The Fall of the House of Usher/The Masque if the Red Death (The Jack Studio Theatre), On Behalf of the People (Regional Tour) Sherlock’s Last Case, Untold Stories, Meeting Bea, Where is Peter Rabbit? (Old Laundry Theatre), The Raven (Etcetera Theatre), Robin Hood, Beauty and the Beast (Loughborough Town Hall), Beauty and the Beast (Derby Arena), Sleeping Beauty (The Core Theatre), Gun (Waterloo East), The Narcissist (Hen and Chickens)

“...her reactions to the raven (invisible to the audience and another example of Sam Glossop’s superb sound design)” - Spyinthestalls
Director Charlie Kenber, movement director Patricia Suarez and industrial sound designer Sam Glossop combine superbly to create a physical, intense, powerful realisation of Castleton's text for his company The Melting Shop.
- York Press
"​​​​This isle is indeed full of noises, as Sam Glossop’s bewitching sound design provides a constant soundtrack to the action onstage'.

“Sam Glossop's sound design begins by serving up 60s commercial soundtrack chatter before giving perfectly balanced voice to the band led by James Cleeve” -
The play avoids sentimentality and cliché, and his cast deliver his words beautifully. Ray Ashcroft is particularly good as George, the elderly miner still haunted by the death of his elder son, while Mellor is a perfect foil, wracked with guilt after his wartime experiences. When the actors aren’t on stage, they’re sat in the audience, as Sam Glossop’s clanking industrial score pulls us further into their lives.
​- The Stage
The production’s sole visual depiction of life underground fuses the domestic and the industrial. Tom forcefully rotates a dining chair as if it were a piece of drilling equipment while his father turns the parlour’s standard lamp on and off, in the same way he would operate the mine machinery’s button switch. Throughout, Sam Glossop’s hammering and clanging soundscape of colliery noise serves to emphasise the pervasive presence of the town’s main source of employment.
"​​​​Sam Glossop’s sound design in the latter half of the play also comes to the fore, suitably unnerving.”​
“Sam Glossop is also due quite considerable praise or his deft sound design, which beautifully captured the feverish and chaotic world of a mind in rebellion. Charlie’s deterioration and Ruby’s visceral dreamscape both benefited from Glossop ‘s elegant touch, enmeshing the tangled fringes of hallucination and reality.” - LondonTheatre1