I am passionate about empowering musicians through thoughtfully designed music technology. With a deep background in music production, sound design, and synthesis, I thrive on bridging the gap between creative users and technical tools. I bring a determined, detail-oriented, and inventive approach to problem-solving—always driven to make instruments more intuitive, inspiring, and musically impactful.
Over the years, I’ve gained extensive experience teaching courses in sound design, music production, and film scoring, as well as working hands-on in modular synthesizer design, technical writing, and film composition. I am dedicated to supporting creativity and innovation in music technology across education, product development, and media projects.
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I was contracted by animator/director, Elena Fazio and music production house, Audiobrew to supervise the sound design team for Fiesta Blood. I oversaw and contributed to the sound design process and synchronized all of the SFX to video.
This film won and was nominated for many different awards, all of which can be seen on the YouTube thumbnail.
I was contracted by animator/director, Yuen Wang and music production house, Audiobrew to supervise the sound design team for Emotional Baggage. I oversaw and contributed to the sound design process and synchronized all of the SFX to video.
This film won and was nominated for many different awards, all of which can be seen on the YouTube thumbnail.
I was contracted by director, Adam Van Dyke and music production house, Audiobrew to compose a musical score for the short horror film, Paracosm The director wanted the film to feel like a grind house music video, so it was composed as a wall-to-wall score using both analog hardware and digital software synthesizers, electric guitar, and various digital signal processing techniques.
I was contracted by director, Chad Wilson and videographer, Jason Beaumont to compose a musical score for the short drama film, The Body. The director wanted a formless electronic ambient score that plays for around 90% of the film’s runtime. It was composed using both analog and digital hardware synthesizers, piano, and various digital signal processing techniques. As an electronic musician, I also mixed the score before it was sent to post-production.
This piece was also performed live at the Synthplex convention in Burbank, CA in 2019.
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