Film Composer

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

A: My last two projects are probably my most favorites. The play "GO" was a big success in Atlanta. I was the composer for the play. the Budapest Orchestra was used for some of the tracks. I also ran the sound effects and music for the play.

Q: What are you working on at the moment?

A: I just finished a feature documentary called "Against All Odds: Surviving the Holocaust". It is now making its way through various film festivals and has already been nominated for best documentary. Currently, I am working on an album for a vocalist with native American aspects.

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

A: I have worked with TonyB on a soundtrack for the play "GO". I highly recommend him. He is professional and delivers what he says he will.

Q: Analog or digital and why?

A: I have had two analog recording studios in my life. I love the sound of tape. However, there is a lot of maintenance that goes into maintaining analog equipment, especially mixing consoles and tape machines. For that reason, I am a digital studio (with some analog outboard gear).

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

A: Once I start working, the project will have my undivided attention. Also, so far, I have never been late (and many times early) finishing up a project.

Q: What do you like most about your job?

A: The satisfaction of doing a good job and enhancing the film. Also, I certainly love delighting clients. It is a feel-good win.

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

A: How long does it take to score the film? I can typically produce 2-3 minutes of finished soundtrack per day. Depending on the film and genre, those numbers can variy.

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

A: It is hard for me to come up with an answer for this. What I can say is my customers find that I am very friendly and easy to work with. I will give my opinion. However, I also realize that I am work for hire and it is not my film.

Q: What questions do you ask prospective clients?

A: 1, How long is your film and how much music do you estimate you will need for your film? 2. Would you like to have a spotting session so that we together can discuss where music is needed and the general feel of the music. 3. What are the time constraints?

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

A: Try to take the time and listen carefully to several composers. We all have different styles and sounds.

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

A: A computer, audio interface keyboard and headphones. And lets not forget the generator for electricity :)

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

A: My journey stared at six years old, taking private accordion and trumpet lessons. In my teens, I joined my first rock bands. by my 20's I was working nightclubs five and six nights a week. Recording on records came a little later in my early thirties, playing and producing for artists like Greg Walker (Lead vocalist for Santana on 11 albums), members of GQ, and members of the Heartbreakers. 10 years or so ago, I became very interested in scoring to film and have been doing that ever since.

Q: How would you describe your style?

A: Orchestral. However, I am also versed at world music styles and creating hybrids of those styles with orchestra.

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

A: I would love to work with someone like James Newton Howard, whom is one of my favorite composers.

Q: Can you share one music production tip?

A: Setting up a template for each film project saves many hours of poking around looking for and loading sounds. Once the template has been created, you are ready to dive right into the creative process.

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

A: Soundtrack

Q: What's your strongest skill?

A: Delivering a score that conforms with the vision of the director or producer.

Q: What do you bring to a song?

A: In short, my passion. If heard more than once from my clients that my music has a lot of feeling to it, which breathes life into the film.

Q: What's your typical work process?

A: Typically, the director or producer will send me a copy of the film. Upon review of the film, we may or may not have a spotting session (depending on the director's desire). Once spotted, I typically burn in timecode (If not already burned in), and break the film up into small scenes, ranging from two to eight minutes. Each scene equals one music cue. I frequently send the director the cues for review. If any rewrites are required, I will handle them according to the director's wishes.

Q: Tell us about your studio setup.

A: My studio's centerpiece is a Mac PRO 2019. An i9 Alienware PC serves as my VST host which speeds up my workflow tremendously. I have pro outboard gear such as Avalon, Universal Audio, dbx, and Steinberg. My microphone collection is quite good with Neumann at the top of the list.

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

A: Some of my instructors at Berklee College of Music have been very inspirational. As far as film composers, John Williams is at the top of my list, followed by many of today's popular film composers. Hans Zimmer should be mentioned as he continually reinvents himself from film-to-film.

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

A: Most of my work is scoring for various types of films, from documentaries to horror and everything in between. I also arrange and produce popular-music tracks that require orchestral and orchestral-hybrid accompaniment.