Rough Crossing – Piccolo Theatre – Evanston, IL – Music
How To Act Around Cops – Open Cage Ensemble – Chicago, IL – Music/Sound Design
The Suitcase – Appetite Theatre – Chicago, IL – Music/Sound Design
Murdering Marlowe – In Actu Theater – NY, NY – Music/Sound Design
Macbeth – Shakespeare Theatre of New Jersey – New Jersey – Music
Romeo & Juliet – Shakespeare Theatre of New Jersey – New Jersey – Music
Macbeth – Landers Theatre – Springfield, MO – Sound Design
A Midsummer Night’s Dream – Nebraska Wesleyan – Lincoln, NE – Music
A Comedy of Errors – Springfield Tent Theatre – Springfield, MO – Sound Design
The Boys Next Door – Springfield Tent Theatre – Springfield, MO – Sound Design
10th Anniversary Play Festival – Mercury Players – Madison, WI – Sound Design
Knowledge & Skills
Advanced Sound Design – I have worked on multiple AAA games and have provided the majority of the sound effects and final mix of many of the titles that I have worked on. Every project that I have been audio lead on has ranked very high in critical audio scores and Quake 4 was nominated for Best Sound Effects in the 2005 NAVGTR Awards.
Advanced Audio Implementation - I have worked with many game engines in the past and have been responsible for communicating and planning out audio requirements for Day 1 and id’s proprietary engine and toolset. The end goal was always to make sure that audio was incorporated into the tools in an elegant fashion in order for any client to be able to quickly get audio into their project. I work with programmers on a daily basis to figure out how to continue to streamline this process and how to constantly keep the audio portion of our engine “next-gen”.
Music Composition - In addition to sound design, I have also provided the score to many of the games that I have worked on. I have experience working with dynamic music systems, post-scored pre-rendered cinemas, musical ambience, and a host of other “musical scenarios”. I work with programmers and designers to try and keep the music portion of any title anchored in the world and atmosphere that has been established.
Hardware/Software Experience – I have vast experience in audio authoring software packages (Protools, Nuendo, Logic, Wavelab, Ableton, etc…), synthesis (Reaktor, Kyma, outboard modular synths), sound libraries, music sequencers, samplers, plug-in suites, and audio middleware (FMOD, Miles, ISACT, Wwise). I have also worked with a wide array of licensed third-party game engines (id Tech, Source, Unreal, and Crytek), and proprietary software/game engines.
Studio/Equipment Experience – At Raven, I helped design and plan the audio suites that were built specifically for the audio department when a new facility was constructed from the ground up. I was also in charge of purchase proposals, which included everything from additional software to the creation of an additional audio suite. At Day 1, I was essentially responsible for creating the audio department. This goes all the way from studio spec, to equipment purchase, to working with construction contractors, and to hiring on-site audio personnel.
Scheduling/Budgeting – I have vast experience with schedule planning for myself, on-site audio personnel, and contractors for multiple projects at any given time. I primarily use a combination of Excel and Outlook to keep things scheduled and to keep a universal location for anyone to see what the audio department is currently working on. I also have experience in planning out budget proposals for projects and the department as a whole.
Contract Liaison – I have worked with many audio/music contractors and have a great rapport with the people I have worked with. Being an audio content provider myself makes it very easy to communicate to like-minded individuals to get the results that are expected from any contractor that is hired.
Additional Info & Tidbits – My background is in acting. I’m a member of the Screen Actors Guild and one of my big passions is story development, script analysis, and voice-over. I love working with actors on scripts to find all the subtle nuance of character and subtext.