I discovered my passion for audio production at WLTL in LaGrange, 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 enteredColumbia College Chicago's film program where I graduated in 1996
with a BA in Film with an emphasis in Sound.
I moved to California and was hired at the now defunct 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 the equally defunct 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 needed to move my career in another direction so I took on the position of Audio Lead on 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 and I was once again laid off.
Currently I am a freelance sound designer willing and able to tackle any project that comes my way, be it film, television, video game, or web based. Please contact me at firstname.lastname@example.org if you are interested in my services.