I identify the creative goals for the project such as unique sound design needs, potential special vocal processing, and appropriate musical direction, then I determine the best way to accomplish those goals given the time and resources available.

I analyze the tech challenges for the project and troubleshoot with the audio programmers to invent creative, effective, and efficient tools and solutions.

I interface with project leadership and the other department heads so that all the various production and creative needs are accounted for and met.

I stay constantly up-to-date with my VO, sound effects, and music leads to ensure all aspects of the audio are being addressed properly and to help solve any issues that may arise.

I provide mentorship and leadership to members of my audio team, by working with them directly as well as leading by example.

I set the overall goals for the audio department, providing a creative and technical vision for the studio, as well as a roadmap for departmental hiring and advancement.

I identify equipment needs and work with studio budgets to make sure the audio team has what it needs to work at their highest potential.

I research and determine industry procedures and advancements in order to keep pace with the competition, as well as identify areas where my department could be industry leaders.

I work with studio leadership on achieving short and long term studio goals and introduce ways that audio and the audio department can better enhance the studio's culture and presence in the industry.

I study the script and interface with the writers to determine line count, number of characters, and get a sense of casting, recording, and editorial needs. I collaborate with the director and producers on voice casting and develop short lists based on actor appropriateness.

I develop a studio booking plan to create the most efficient recording schedule possible given budgets and actor availability. I make sure the studio knows all of our studio setup preferences and delivery specs.

I direct the talent either along with the project director or using their guidelines for line deliveries. I generate editorial guidelines and coordinate staff editorial schedules.

I work with the localization team on their delivery schedule and requirements, making sure that casting, recording, editorial, and delivery of localization assets all happen on schedule and within budget.

For interactive projects, I create the database and integration plan for thousands of assets so that upon delivery, all the VO lines are triggering correctly in the game. I stay up-to-date with the cinematics team to make sure assets are being delivered to them in timely manner.

I meet with the creative leadership to develop the appropriate musical style and mood for the project. I research similar compositions and create a temp score using music from previously produced projects.

I work with the composer to craft the score, using the temp tracks as a template. I edit the work-in-progress score into the project to ensure it is meeting the predetermined goals and direct the composer to adjust pieces accordingly if it is not.

I research and propose any appropriate licensed tracks. I create numerous temp edits of the licensed music, offering different suggestions for how it might be used in the project.

For interactive projects, I research and develop solutions for how to best present the score in a non-linear, user-paced environment. I direct the composer to write and deliver the score so that it works within the interactive solution.

I discovered my passion for audio production at WLTL in La Grange, IL - my high school radio station. My sophomore year, I began producing radio dramas using only two cart machines and a 2-track reel-to-reel. I recruited my friends to come in on Saturdays to record the dialogue and then spent hours of my free time editing in music and sound effects. My first bit of "sound design" was creating reverb effects by dialing in small amounts of feedback to the mix.

I entered Columbia College Chicago's film program where I graduated in 1996, receiving a BA in Film with an emphasis in Sound.

I moved to California and was hired at EFX sound studios in Burbank.
I was fortunate to have the chance to work with some really amazing mentors on such films a 'Blade', 'Everest', and 'Mortal Kombat: Annihilation'.

My next studio was Digital Sound & Picture sound studio in Los Angeles. I spent the first year at DSP working on the syndicated television show 'Xena: Warrior Princess' . Following that , I worked on a number of features including 'Bring It On', 'Legally Blonde', and '3000 Miles to Graceland'.

Soudelux, a major Hollywood sound studio, eventually absorbed DSP. It was there that I got a chance to work on some really huge projects. I collaborated very closely with director Marc Forster on his intimate film 'Monster's Ball' and blew holes in Hollywood Blvd. for 'The Italian Job'. I flipped Tom Cruise's car over in 'Mission: Impossible 3' and tried to cut him to pieces during 'The Last Samurai'. I even managed to completely destroy LA with tornadoes for 'The Day After Tomorrow'. I also worked for DMG - Soundelux's gaming division where I contributed to such games as 'Onimusha: Dawn of Dreams' and 'Lost Planet: Extreme Condition'.

After 10 years in Hollywood, I felt like I was ready for new challenges so I took on the position of Audio Lead for a Marvel Comics fighting game at Electronic Arts' Chicago studio. Unfortunately, EA decided to close down the studio a year later.

I soon joined up with the talented group of developers at the newly formed 2K Marin in northern California as the studio's Audio Director. After development of Bioshock 2 and The Bureau: Xcom Declassified, 2K decided to shutter the studio after 6 years.

After working as a freelance contractor for a while, I was hired by TellTale Games where I am currently the Director of Audio. Our current projects include Game of Thrones, Tales From The Borderlands and Minecraft: Story Mode.