I am a sound engineer, sound designer, music producer, musician, and educator.
Originally trained as a percussionist, I focus first on rhythm and non-tonal sonic timbres versus tonal melody and harmony when working on music and sound. My central goal, when designing music and sound for theater, film, or dance, is to draw from the underlying or subliminal content and to piece together sonic elements that enhance or provide a rhetorical counterpoint to the drama, text, or movement. The final work is a collage that juxtaposes these sonic events simultaneously and sequentially in varying degrees of complexity.
My concept of the use of sonic timbres is informed by the works of electronic music composers stemming from the era of musique concrete in the 1950s and its subsequent influences on rock, jazz, and popular music genres and on sound-scoring for film and animation.
I have had the pleasure of working with a diverse range of musical groups and artists including Isis, Malvina Reynolds, Unknown Gender, Presents of Mind, Roma Baran, Penny Lang, Rosalie Sorrels, Laurie Anderson, Rebecca Coupe Franks, Bitch, Annabelle Chvostek, The Harp Band, Orchestra Airhead, and Such As Us. I have also created music and sound design for the Split Britches Company, Peggy Shaw, Stacy Makishi, and Jon Kinzel among others.