Soaring Cinematic Music

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

A: If you're in the market for some serious pop songwriting or male pop vocals, check out my buddy Zach Alwin. He's been killing it on here for a while and was the one who told me about SoundBetter in the first place.

Q: Analog or digital and why?

A: Both! Each have their merits. Digital music tech allows for an insane amount of refined production tools that we now have access to, while analog will always have that punchy organic sound that is so sought-after.

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

A: That I truly take every piece of music I work on extremely seriously.

Q: What do you like most about your job?

A: I always joke with others that my job is literally making people feel things. But you know what, what about that isn't true? The best part about what we musicians do and my favorite part about composing is crafting a unique experience for somebody to have through music.

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

A: 1) A saltwater powered generator 2) Composing rig 3) Violin 4) Prophet synth 5) Baby grand piano

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

A: At some point playing in student orchestras as a kid I got bit by the composing bug and I haven't looked back since. A couple years into studying at the Bob Cole Conservatory at CSULB I started interning for Mark Phillips, a fiercely skilled rock and orchestral composer for TV shows. He became my mentor/close friend and is by all accounts responsible for my knowledge of the music industry today. Working with him and my school contacts led to other opportunities, which led to others, and now I get up every day and just write tunes. It's pretty great.

Q: How would you describe your style?

A: Passionate, heavily melodic, and eclectic. I have influences all over the map, from classical music to bebop jazz to EDM.

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

A: I would die happy if I had the opportunity to collaborate with Quincy Jones in any capacity.

Q: Can you share one music production tip?

A: Dynamic range is the bees' knees. Even with super loud, in-your-face tunes it is nice for the sound to be able to breathe a bit!

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

A: My wheelhouse is orchestral and/or synth-based score for TV shows, films, and video games. Combining orchestral textures with synths is what I LIVE for.

Q: What's your typical work process?

A: I like to physically play what I compose rather than draw in MIDI notes all day. I recently built a custom desk with a keyboard in it so I could do just that.