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  • Mixing 

  • Mastering

  • Recording

  • Sound Design

  • ​Audio Restoration

  • ​Location Sound

  • Foley

  • ADR

  • Boom Op

  • Music

SKILLS:

AUDIO

  • 5.1 Surround

  • Score Composition

  • Wireless Systems

  • Field Recording

  • Post Production

  • Song Writing

  • ​Patchbay Routing

  • Multi-Mic Drum Tracking

  • Voice Over 

  • Live Sound

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Certifcations:

Pro Tools 210P

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Post Production Professional

Pro Tools 130

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Videogame Audio
Specialist

Pro Tools 110

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Pro Tools
Specialist

Dante Level 3

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Advanced
Networking

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MIXING FOR FILM

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SOUND DESIGN

It's my duty to bring the director's vision to life through audio, fully immersing the audience into the world portrayed on screen. I will manipulate sounds through synthesis, sampling, and recording to enhance the auditory experience of the viewer. I will create both original sound effects and a unique soundscape for them to live in. I will capture my own foley to enhance the realism and emotional impact of the film. I will create custom synth patches and ambient drones to fully immerse the audience in the world portrayed on screen.

“Genuinely incredible. I cannot describe to you how much this brings everything I envisioned to picture. You are seriously born for this.” - Delaire Gackle, director of SNOWFALL 

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SCORE COMPOSING

I will create an original composition that best accompanies the narrative of the film. When writing, I will choose key signatures and chord progressions that evoke the desired emotional response from the audience. In order to that match the rhythm & pacing of the video edit., I implement dynamic tempo changes that adapt that changing mood. 

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DIALOGUE CLEAN UP

Audio Restoration

Audio restoration and spectral repair for sound captured in noisy environments and other non-ideal conditions. I perform techniques for removing background noise, clicks, pops, hums, wind, distortion from clipping, and much more. Whether it's poor quality dialogue from a film set, a podcast conversation, or forensic audio, I can achieve increased quality, polished clarity, and intelligibility. 

Before:

After:

FOLEY

Foley goes hand-in-hand with my sound design work, but instead of sound effects that are immersive and otherworldly, it deals with normal, everyday sounds that occur when a character interacts with an object. Foley ranges from common examples like footsteps and the rustling of clothes to intense fighting impacts such as punches, kicks, and bone breaks. As simple as it may sound on the surface, it's also very detail-oriented, which is why I capture original foley for every film that I work on. Even for footsteps, in order for the audience to believe that they are actually hearing what they are seeing, many factors must be taken into account, such as the surface, shoe type, and the gate of the character. When hired for your next production, I assure you that the finished result will be catered to the specific conditions of the scene depicted on screen. 

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ADR

I utilize a talkback system to ensure that there is always communication between the talent and engineer during the tracking process. I get the best performance possible out of the actors by supplying video playback in the ISO booth and providing them with a custom headphone mix that best suits their preferences. I will maintain the highest quality audio when warping the new recording to match their original performance, via Elastic Audio and VocAlign. 

Sound Mixer,  Boom Op,  Sound Utility

LOCATION SOUND

Depending on the needs of the particular project, I may be hired as Sound Mixer, Boom Op, Sound Utility, or a combination of the three. No matter the case, my first priority is to capture high quality dialogue on set. I will dress and conceal lavaliers by wiring up the actors and discreetly hiding plant mics. I will synchronize the various wireless systems and avoid RF interference by managing their frequencies. I'll utilize my field recorder to monitor all input levels and embed metadata into a detailed sound report. I will also operate the boom pole and memorize the script to ensure the mic placement is always in the right location at the right time. Additionally, I will record room tone/ambient sound for every new space where dialogue is captured. Lastly, I’ll send a wireless feed to video village allowing directors and producers to monitor my high quality recording in real time.

DEMO REEL

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Location Gear:

(*provided upon request)

Wireless Systems: ​

  • Sennheiser G4  - 2 transmitters, 2 receivers

  • Rode Wireless Pro  - 2 transmitters, 1 receiver

Field Recorder: ​

  • Zoom F8N Pro

Microphones

​​

  • Rode NTG3

  • Sennheiser MKE 2

  • Sennheiser MKE 1

  • Sennheiser ME-2

  • Countryman B6

  • Rode Lavaliere II

  • Zoom SSH-6

Accessories

  • Rycote Blimp 

  • Rode dead cat

  • ​Zoom dead cat

  • Sachtler harness

  • ​Behringer MicroAmp

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MUSIC

MIXING

I will balance all individual instruments and vocals to form the most cohesive and well-polished product to be delivered to the mastering engineer. This consists of dynamic processing, time-based effects, and panning of each element to the appropriate position in the stereo field. I will apply pitch correction to the vocals based on the artist’s stylistic preference, whether it be fine-tuning each syllable line-by-line or maintaining some of the natural imperfections and vibrato in the singer’s voice. I will use a combination of processing that consists of plugins within Pro Tools and physical analog outboard gear. I will utilize EQ to carve out space for each component, ensuring that every aspect is heard the way it is intended to.

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MASTERING

I will optimize the mix for distribution by meeting the loudness standards of various platforms regarding LUFs and normalization. This ensures the highest quality playback regardless of where the song is streamed. I will utilize harmonic exciters to enhance perceived loudness, widen the stereo image, add cohesive warmth through saturation, and ensure accurate translation through true peak limiting. Lastly, I will author metadata into the WAV file, embedding essential info such as song title, artist, album, artwork, genre, etc. 

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LIVE SOUND

I operate the mixing console for Front of House providing a balanced and clear mix for the audience. I communicate with band members via IEMs, ensuring that they have everything they need for a great show. I process the audio using compressors, EQs, and time-based effects. I manage the various wireless microphones used by the musicians, speakers, and other venue staff. I’m responsible for the setup and teardown of all audio equipment. 

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