Film Composer, Music Producer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I recently wrapped up a big project composing/mixing/mastering 14 pieces of music for a dance piece that was performed at the Shaking The Tree Theatre in Portland. It meant so much to participate in a piece of work that was made to help people with their grief surrounding death. It was one those moments when you know you are a part of something that is so much bigger than yourself.

Q: What are you working on at the moment?

A: I am currently writing and producing songs for an R&B singer and composing music for a short film.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Yes, I know and love a variety of people on Soundbetter that I am happy to recommend to people if they contact me.

Q: Analog or digital and why?

A: I am going to say digital because I think that the development of digital technology has led to the empowerment of many artists and creatives that cannot afford analog.

Q: What's your 'promise' to your clients?

A: I will always work hard to put my best work out there for a client while also making them feel comfortable enough to communicate whatever they need to me. For me, it's about creating a safe space so that the creative work can be a joyful experience and not arduous.

Q: What do you like most about your job?

A: I like being a creative person. Anything that's creative makes me feel like I am exactly where I am suppose to be.

Q: What questions do customers most commonly ask you? What's your answer?

A: Well, people are usually asking if I "can" do something. My answer to that is typically "yes" but just because I "can" do something doesn't mean that I should be the one to do it. I usually need more information about the project before I make the commitment to do it. There are some situations where I just have too many projects lined up to be able to give it the attention that it needs or I might feel that they need someone else that would better fit what they are asking me to do and I want to make sure clients get connected to the right people as I am here to support artists and not just take what I can from them. I know what it's like because I have been on their side of the fence before.

Q: What's the biggest misconception about what you do?

A: That you don't have to have people skills when you really do. You need to be able to communicate well with people and be considerate. Listening is caring. Watch Mr. Roger's Neighborhood or some Care Bears episodes. Interpersonal skills are a must.

Q: What questions do you ask prospective clients?

A: What is this project intended for? Who is the audience? Where will this film be screened? What is your role in this project? What is your budget? How open are you to suggestions? How have you typically worked with composers or producers in the past? What is the schedule for the completion for this project and how flexible is it? Who are your influences? What is your vision for the final product? What instruments are you hearing being used in this project? What film or musician could this project be categorized with?

Q: What advice do you have for a customer looking to hire a provider like you?

A: If they don't ask you good questions, then they don't really care about your project.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Hmmm. Is there electricity on this island? I'm going to assume that there is magically some electricity there, in which case I would bring my iMac, keyboard, guitar, microphone, and a good set of speakers.

Q: What was your career path? How long have you been doing this?

A: I started out as songwriter for a theatre company in Georgia. I then spent some years in bands performing live in cities like New York and London before getting serious about using the skills I accumulated over the years to help other artists in the studio. It happened very organically. My musician friends started coming to me with questions and needing guidance and advice on their productions and they knew that I could help because I had told them about my own difficulties trying to get producers and engineers to see my vision, which resulted in me learning how to produce and engineer my own work.

Q: How would you describe your style?

A: I would like to think of myself as a mad scientist combining substances that many wouldn't think to put together but being bold enough to risk an explosion in the lab in order to create something new. Much of what I do is a hybrid. I use my love of indie rock, pop, electro, world, and classical music to create something that has not been heard before.

Q: Which artist would you like to work with and why?

A: I would love to work with FKA twigs. I think she is one of the the most unique voices out there right now and her strong sense of style and storytelling would be greatly enhanced by my cinematic approach to production.

Q: Can you share one music production tip?

A: I think we all find our own ways of making a production work, but one thing that has always been consistent with me is that it is important to take breaks and give your ears a rest so that you can come back to it with a fresh perspective. I keep a yoga mat in my studio so that I can lie down in Savasana when I have hit a wall while producing. This is a great tool for getting out of my own way and making sure I'm leaving room for the muse to takeover and not my ego.

Q: What type of music do you usually work on?

A: I usually work on music that has a dark mood or dramatic feeling to it. I gravitate toward music that is telling story and creates an atmosphere for healing. I like creating beauty out of darkness.

Q: What's your strongest skill?

A: World building. Imagination. Think of me as your Willy Wonka and the Music Factory.

Q: What do you bring to a song?

A: I bring a sympathetic ear to a song. I listen to where the song wants to go and what it wants to be to reach its full potential. That potential is very much predicated on what it is trying to communicate to the listener and I make choices based on that so it can reach other ears with the greatest of ease.

Q: What's your typical work process?

A: I like the process of world building. At the beginning of each song or arrangement, I like to get a sense of the world that the project dwells in before doing anything. I typically like to start the composing stage by creating sonic textures using strings or analog synths that help to paint the atmosphere. I use this as a canvas to place other instruments on. I then try to get as much out of my own way as possible and allow the project to breathe and come to life without forcing too much onto it.

Q: Tell us about your studio setup.

A: I compose mostly in the box on my iMac Pro using an MPK249 keyboard, Kontakt libraries, and sound design plugins such as Reason Racks. I primarily work in Logic Pro but I will occasionally use Ableton and Reason. I use professional composer libraries to get a realistic orchestral sound for that cinematic feeling in my productions. Through the years I have accumulated a wide variety of industry standard libraries from companies like Spitfire, 8dio, Orchestral Tools, CineSamples, Virharmonic, Miroslav Philharmonik, and e-instruments. My interface is the Apollo Twin Quad which I use to record my Les Paul electric guitar as well as vocals and a variety of acoustic instruments such as ukukele, mandolin, and acoustic guitar which I can also play.

Q: What other musicians or music production professionals inspire you?

A: Thomas Newman, Jerry Goldsmith, Kate Bush, Bjork, Nina Simone Go here to read more about my favorite composers and influences: http://www.ahmond.com/blog/top-film-composer-picks

Q: Describe the most common type of work you do for your clients.

A: I am typically asked to produce songs for recording artists or compose music for theatre, dance or film.