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Scoring to Picture . .

. . has always been, and remains for me an immense joy - the perfect career for a guy who could never dedicate himself to just one genre because there were so few of them that he wasn’t fascinated by . . . oh sure I sometimes get jealous of folks who dedicate their entire lives to mining the depths of Bluegrass, or EDM, but only for a minute, because then a job comes in that asks for New-Folk or maybe Tango, and I get to remember how much I enjoy exploring those worlds also. Most people’s tastes in music crystallize at a certain age, and a pretty young age at that, and if your job is to create the music, it can far too easily settle into ‘mature work’ - your methods established, you’ve collected the tools which you think will serve you well for the rest of your career, and at that point you can honestly market yourself on your reliability, playing down the corresponding predictability. Well, reliable is important, and I’m known for it. (I’m also known for, and get a perverse joy out of, what is to most of my peers the nightmare scenario – finding common ground between diverse client visions :). But the art and technology of music is never standing still, in fact it‘s evolving faster than ever, whether it’s innovations in arrangement or mixing, new computer technologies, or just the inevitable morphing of public taste. My fascination with the process allows me to stay on that ride, joyfully morphing along. And all the while that I’ve been lucky enough to make a living doing this, the one thing that has become ever more apparent is that a successful project depends, more than anything else, simply on making the right musical choices; it’s not about whether you use Logic or Pro Tools, or if that’s the right compressor to use on the timbales, it’s about finding the right emotional connection to nail it. I will share the best options with you, and we’ll come up with the right choices together.


Oh, and by the way, I use Logic.