Tom McKeand is a sound designer, music technology specialist, sound engineer and musician originally from London, living and working in Melbourne, Australia.
Tom is adept at several instruments and collects various unusual instruments from around the world. He has also played extensively with bands around the UK playing guitar, bass and keyboards (sometimes at the same time!).
Tom is in demand as a music technology programmer and has worked on many large musicals in the UK and internationally, including Matilda (USA and international tours), Kinky Boots (West End and UK tour),
Jersey Boys (UK tour) and Dear Evan Hansen (West End).
Tom has a particular interest in networking and programming show control systems for live performance. He programmed the entire show control system for Because the Night (2021) at the Malthouse Theatre in Melbourne. This non-linear immersive experience of 37 rooms involved thousands of lines of code, several computers, three lighting desks, dozens of loudspeakers, hidden switches and OSC controlled telephones. Read the review from the Guardian.
Tom has also worked as a sound engineer live and in recording studios for a diverse range of shows including: Relay (Mona Foma 2021), King Ubu (Mona Foma 2020), One the Bear (Arts Centre Melbourne/Sydney Opera House 2019), Inside the Walls (Adelaide Fringe 2017 and 2019) Pyeongchang 2018 & Sochi 2014 Winter Olympics, London Jazz Festival and many more.
Tom’s has also designed sound for theatre productions, and written music for short film projects and theatre.
Tom is adept at several instruments and collects various unusual instruments from around the world. He has also played extensively with bands around the UK playing guitar, bass and keyboards (sometimes at the same time!).
Tom is in demand as a music technology programmer and has worked on many large musicals in the UK and internationally, including Matilda (USA and international tours), Kinky Boots (West End and UK tour),
Jersey Boys (UK tour) and Dear Evan Hansen (West End).
Tom has a particular interest in networking and programming show control systems for live performance. He programmed the entire show control system for Because the Night (2021) at the Malthouse Theatre in Melbourne. This non-linear immersive experience of 37 rooms involved thousands of lines of code, several computers, three lighting desks, dozens of loudspeakers, hidden switches and OSC controlled telephones. Read the review from the Guardian.
Tom has also worked as a sound engineer live and in recording studios for a diverse range of shows including: Relay (Mona Foma 2021), King Ubu (Mona Foma 2020), One the Bear (Arts Centre Melbourne/Sydney Opera House 2019), Inside the Walls (Adelaide Fringe 2017 and 2019) Pyeongchang 2018 & Sochi 2014 Winter Olympics, London Jazz Festival and many more.
Tom’s has also designed sound for theatre productions, and written music for short film projects and theatre.
