Star Wars to Stranger Things, A-list sound, A-list credits.
Music for film, TV, trailers, and listening.
Utilizing the finest orchestral, synth, and acoustic sample libraries along with world-class orchestration and midi-programming skills, ultra-realistic orchestral, hybrid, rock/jazz/acoustic mockups are delivered without the budget required for hiring an orchestra and studio and without the hassle of meeting union demands. Performed, mixed, and mastered in house, this is truly a one-stop-shop for cinematic music. Simple, quick, affordable, pristine.
Contact me through the green button above and lets get to work.
- X-Men: Apocalypse
- The Foreigner
- The Legend of Tarzan
- John Wick 2
- A Monster Calls
- The Walk
- Alexandre Desplat
- James Newton Howard
- Hans Zimmer
- Clint Mansell
- mark mothersbaugh
- owen pallett
- john paesano
- ryan shore
- mike kramer
- daniele luppi
- Ghost in the shell
- The LEGO Ninjago Movie
- Lego Star Wars
- Dragons: Riders of Berk
12 Reviews - 4 Repeat ClientsEndorse Shipwreck Music & Co.
Great working with Richie (Shipwreck)!!!
Very professional and fast!!!
Another exciting session finished! Very fast response! Really enjoy working with him.
Richie's work may have even exceeded my expectations. He's not only talented but punctual and extremely good with communication. I look forward to working with Richie again.
It has been one of the most enlightening experiences of collaboration with such a talented and precise composer. I found him to be incredibly involved and responsive when I gave him feedback as well as experimenting with sound to bring about new ideas. I wish him the best in his endeavours and have greatly appreciated the amount of respect he’s given my film with his music. I would very much like to continue this creative friendship and collaboration for future projects to come.
Super fun and easy to work with! Genuinely listened to feedback and helped create something special
Another great job by Richie! He responded in a prompt manner and accommodated my request perfectly with a quick turn-around. Richie is a huge asset to any production team. Very knowledgable. Looking forward to our next project!
Richie is a very talented composer! Very easy to communicate! Highly recommended!
Richie did an awesome job for me! Having a great ear and fantastic creative instincts, he did so much more than I even thought to ask. He worked diligently on a tight turn around, and really went above and beyond on every level. Richie is laid back and fun too. Highly recommended!
From the get go Richie has been extremely reliant and eager to execute the vision of the film. Him offering to record with a live cello and understanding of budget restrictions places this artist in a category of his own. He is a gifted composer who effectively understands what the film needs in order to have it's own voice. It's been a humbling experience to have such quality music in my film. Hopefully, there is more collaboration in the near by future.
Outstanding work again! Very professional and fast!
The best arranging experience I have ever had!From start to finish it was a great pleasure working with Richie.He paid attention to every detail I have mentioned and did an amazing job from the very very raw version that I sent to him.He's a true professional, knows everything that you expect from the final version, very easy to communicate with online, and unbelievably quick! If you are looking for any orchestral/soundtrack style arrangements or scoring your movie,you wouldn't find any better!
Richie is a very talented and creative composer/orchestrator/producer. We had a great working relationship. He really listens and embraces the project needs in a way that helps push the final product to a new level. He also works fast and gets feedback implemented seamlessly. I highly recommend him for your projects, whether it is music composition, orchestration, music production or midi mockups.
Interview with Shipwreck Music & Co.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: A feature that recently premiered at Sundance... I wrote a couple long cues to very important parts of the film that were extremely emotionally dense. I was very pleased with the result as were the lead composer and the director, and each cue was a first version. They enhanced the emotional impact of the scenes and helped tell the story. I was an "additional composer".
Q: What are you working on at the moment?
A: Two shorts, a trailer, a horror film theme, and a personal project.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Mixing engineer Brian Taylor.
Q: Analog or digital and why?
A: Digital, because I don't own a tape machine.
Q: What's your 'promise' to your clients?
A: I'll give you what you need in the time you need it, and you will be happy.
Q: What do you like most about your job?
A: I get to spend my time making music. Every project is different... often wildly different. Never a dull moment.
Q: What questions do customers most commonly ask you? What's your answer?
A: Can you meet my deadline? Yes. Can you make this piece sound really epic? Yes. Can you improve my midi mockup? Yes. Can you beat my temp track? Yes. Can you make it sound almost exactly like my temp track but without risk of getting sued? Yes. Can you add an air guitar solo to the part where I sing, "Whoooo, yaaaa." Yes, obviously.
Q: What's the biggest misconception about what you do?
A: You don't need to hire an orchestra to produce orchestral music... and I don't need to know how to play or have a trombone to write for it or to produce it:) Computers are rather powerful tools these days.
Q: What questions do you ask prospective clients?
A: Do you have reference music that is working for you? What about it do you like? What could be improved upon? When is your deadline? Have you worked with a composer/producer before? How much experience do you have with (whatever the type of project happens to be) do you have?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be as specific as you can. Find reference music to help explain what you want. Ask questions.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Weather-proof guitar. Unlimited paper. Unlimited pencils. Pencil sharpener. Music playing device.
Q: What was your career path? How long have you been doing this?
A: Guitarist, then arteest, then teacher, then hired gun. Music and guitar for almost 30 years, professional composer/producer for 8 years.
Q: How would you describe your style?
Q: Which artist would you like to work with and why?
A: Any of my musical heroes growing up, because there is something magical about looking up to them and then working along side them.
Q: Can you share one music production tip?
A: If your piece doesn't match or best the production value of other pro produced music in a similar style, you aren't finished yet.
Q: What type of music do you usually work on?
A: Cinematic, orchestral, synth, rock, indie.
Q: What's your strongest skill?
A: Being able to navigate the project to find the right music for it, the music that it needs to become stronger and to tell what it is trying to tell.
Q: What do you bring to a song?
A: Music and experience. Producers with no formal music background may still have a lot to offer, but there is a ceiling especially when it comes to the music side of things: arranging, chords, harmonies, counterpoint, rhythmic interplay, structure, ears etc. Having a strong foundation in jazz and classical music, both in theory and performance, opens doors that would otherwise be invisible, and expedites workflow by having an immediate understanding of all of the music elements in the piece. Having worked on many high level projects in a wide range of fields, from trailers and scores to blockbuster films, to commercials for companies such as McDonalds, Ford, and Subaru, and indie docs, shorts, and personal projects, I have a clear sense of how to give a client what they need, and how to interpret what they have requested without traveling down the wrong rabbit hole.
Q: What's your typical work process?
A: For scoring, before I start writing I spend some time with the film to find the right tone, mood, feel. For projects that call for a strong melody or theme, I often write that with paper and pencil to help keep the sounds in my head without being distracted by any sounds I may play into the computer. Once I have a strong melody, I will use that as the foundation of the score, and then take it from there. For projects that call for an unusual sonic pallet, I will spend time dialing in sounds that I like to find unique textures and sounds that bring life to the film. After that, the writing begins and it's finding what's right for each moment, emotionally and musically. I'll send the client a draft, they give me notes, I revise, send back to them, and we do that usually a few times until it's exactly what they are looking for. I can also do remote sessions where the client can view my screen and hear high quality audio. This can expedite the process by eliminating a lot of back and forth of trial and error:)
Q: Tell us about your studio setup.
A: Mac Pro with 128g of ram, Logic, hundreds of sample libraries from Spitfire, Cinesamples, 8Dio, Orchestral Tools, Soundiron, and too many others to list, tons of mixing plugins from SoundToys, Waves, Lexicon, Valhalla, Native Instruments, and many others. Many guitars, a few ukuleles, and nice mic's to record them (Audio Technica 4050 and AKG C414B).
Q: What other musicians or music production professionals inspire you?
A: John Williams, Hans Zimmer, Alexndre Desplat, Johan Johannson, Johnny Greenwood, Vangelis, Tangerine Dream, Junky XL, James Horner, Jerry Goldsmith, James Newton Howard, Bjork, Radiohead, Peter Gabriel, Kate Bush, Michael Jackson, Tears For Fears.
Q: Describe the most common type of work you do for your clients.
A: Scoring films, trailers, TV, commercials, and VR. Arranging, orchestrating, producing, and midi programming (mockups) for other songwriters and composers. Recording guitar.