Michael Begg is a sound artist and musician based in East Lothian, Scotland.

His longstanding Human Greed collaboration with Deryk Thomas has resulted in 5 full albums (Consolation, 2001; Pilgrim: New World Homestead, 2006; Black Hill, 2008; Fortress Longing, 2011, World Fair, 2014) and a further 4 credited to Michael Begg/Human Greed (Dirt on Earth, 2012; OMEGA, 2013, Hivernant, 2015; Let The Cold Stove Sing, 2016)

He contributes to Clodagh Simonds’s Fovea Hex, and is a core member of the performing unit that has appeared in Italy, Spain, Ireland and, notably, in Paris at the Fondation Cartier at the personal invitation of David Lynch.

His Fragile Pitches collaboration with Colin Potter was commissioned by Edinburgh City Council to be performed in the city’s St Giles Cathedral and subsequently headlined Poland’s Intermediale Festival, and was released as a 2CD in 2008.

He has written, produced or otherwise contributed to recordings by Chris Connelly, Laura Sheeran, Blind Cave Salamander, Andrew Liles (w. Fovea Hex) and 48 Cameras, and has welcomed contributions to his own work from Julia Kent, Steven R. Smith, David Tibet, Fabrizio Palumbo, Jean Mathoul, Tommy Aashildrod, Nicole Boitos, as well as his more familiar partners; Clodagh Simonds, Laura Sheeran, Colin Potter.

Regularly providing sound design and music for theatre and gallery contexts, he remains closely involved in an ongoing collaboration with Moscow’s blackSKYwhite theatre company. Output from the theatre and gallery work can be found on the recordings Omega and Let The Cold Stove Sing.

Having come to musical composition via writing, he continues to scribble, and in addition to texts used in his recordings and the blog entries found on this site his articles on music and theatre have appeared in Sound on Sound, The Quietus,  Total Theatre, The Scotsman, Adverse Effect and Paraphilia.

He manages his own label and mail order service, Omnempathy, and runs his own specialist mixing and mastering studio, Captains Quarters.

In 2016, he was appointed to Creative Scotland’s RFO Artistic and Creative Framework Peer Review panel.