As the story goes, I sang before I ever spoke, and I thumped to the rhythm of concert music I heard my father took my mother to hear before I was born. By age three, I had perfect pitch and would sing harmony and play the piano by ear. As a musician, specifically a singer, I perceive the inner narrative in any given situation and use this perspective to write narrative in film scores and screenplays. Through my work as filmmaker and sound designer, I look to reach the audience through the subtext of their own imaginations, or "theaters of the mind". The tools I use to accomplish this are recordings of animal sounds, natural sounds, and Foley sound effects props. Elements from an ordinary world used in an extraordinary way. To build this approach to sound design further, my film scores include layers from rare and ethnic instruments that bring a mysterious ancient voice to the music. To pull it all together, I combine lines of human voices as textures and leads on original songs. This overall effect helps to give the audience the freedom to experience their own sensorial adventure, and to add dimension to the film.
My toolkit, apart from unusual instruments such as Hurdy Gurdys, Autoharps and Syrian Lyres, involves the exquisite sample libraries from EastWest Sound, Frank Sinatra's recording studio on Sunset in Hollywood. Learning to make the most of these libraries is challenging due to their size and richness. I am ALWAYS open to dialogue and conversation about the workflow in the Pro-Tools DAW and how best to produce and mix these tracks.
Short term goal - I am working towards strengthening my Home studio production potential while refreshing my live orchestra conducting and recording. Currently shopping for a MACPRO upgrade - a custom build. looking forward to learning about strategy to for setting up a more robust scalable film scoring studio.http://www.eastweststudio.com/