"I was a guitar player and composition major at Berklee. My first foray into synthesis was to control the results of my compositions. Even before I had a piece done, I could model it using tools like tape recorders and synthesizers before getting musicians to record it. There weren't many synthesizer programmers back then, so I got a lot of work even before I finished at Berklee, doing TV commercials and small independent film scores."
"My students hear a lot of stories from me. And I've heard from some of them years later that something I said in class about getting along with people they have to work with turned out to have been really important. It can be something as simple as 'Dress nice, don't stink, and don't be late.'"
"I also bring my work into class; a piece I've been working on may make its way into class a semester later. I can talk about something I did ten years ago, and look at what I might have done differently, but the technology was so much different then that it's almost impossible to open it up and show people."
"It's important that my students be empowered by technology. In my work, I see a lot of people forced into using a technology that they end up serving instead of the other way around. So if, for example, you're going to use a sequencer, you really ought to understand how MIDI works."
"I'm constantly in learning mode. There is no, 'Now I know everything I need to know and I'm just going to work.' So one of the really nice things about my career at Berklee is that I learn something every time I go in. That hasn't changed since the first day I went in as a student."
- B.M., Berklee College of Music
- Composer and producer for theater, television, radio, and film
- Recorded with Joe Perry (Aerosmith) on his solo album 10 Years
- Sound designer and composer for Chamber Theater Productions
- Synclavier specialist for the Cars' Heartbeat City tour