- Career Highlights
- Staff composer, sound designer and engineer at Verité Music Productions
- Scored the PBS/NOVA documentaries Car of the Future and The Great Robot Race
- Scored independent documentary There Ought to Be a Law and award-winning short Olyver Brody
- Produced Murmurs, debut album of indie electronic artist Caroline
- Produced tracks with Laura DiStasi and Andrew Chaikin, a.k.a Kid Beyond
- Orchestrator, music editor and sound designer on The Nazi Officer’s Wife (Best Music Emmy nominee); Omar & Pete (Best Documentary Emmy nominee); Rx for Survival (Best Informational Programming Emmy winner)
In Their Own Words
"The first movie I remember watching was Star Wars on TV at the age of three or four. I remember sitting on my dad's lap as I watched—he was asleep and didn't even know it was on. I remember being totally blown away by it, but probably more by the images than the score; it wasn't till I was a teenager that I really started thinking about the role of music in films."
"As a Berklee student, when I was not in class I spent every waking hour teaching myself new pieces of gear and reading books and manuals. I was eating it all up as much as I was eating, drinking, and breathing music. I tell my students to do the same thing: learn all kinds of different platforms and software and types of gear, so that they're as prepared as possible for any job situation they might end up in. So that, when they're in an interview and someone asks, 'Can you operate x piece of software or y piece of hardware?' they can always say yes."
"It's also important to get as comfortable as possible with the technology so that you're not bound or controlled by it, but it becomes transparent to what you're trying to do. It's very easy to fall into the trap of being so overwhelmed by the software and the gizmos that we use that you end up letting it dictate how you create music, rather than the other way around."
"The actual end result—the music—is what you need to be thinking about; whatever tools you use are just tools. Just because you're working with a computer, you're still trying to create art. You have to treat technology as an instrument that's no different from spending six hours a day in a practice room practicing your guitar. Whether it's a computer or a mixing board or a guitar, you have to make it kind of sing and play for you."