I am a technically-minded creative experienced in composition, field and studio recording, long-format editing, sound design, sound restoration, and mixing. Most days I get up very early to write and compose before the workday starts. My weeks are filled with new projects, so I am always organizing fresh content into a strategy for completion. In other words, I don't hit the same buttons quickly but have to think on my toes. I enjoy this!
My focus is sound-for-picture, largely corporate industrial and commercial, from production to finish.
My forte within production would probably be handling the voice, as I possess insight from 30 years of voice work. I enjoy supervising sound and dialogue on set. Even if I'm not doing the post-production, I'll recreate what is needed if it is not captured in a way that post can get to quickly.
I studied music and voice at UT and OSU but was fascinated by tech and wanted to learn how to make my recordings sound like what I heard in my head. There were few audio programs in the early 1990's and Full Sail was not an option financially, so I learned the old-fashioned way—by trade. I worked at Catfish Music, a jingle composition house in downtown Chicago. After years there, I took a chair at Broadview Media which specialized in educative broadcast content. From there I went to a higher profile position in the sound department of Cutters, which specialized in audio finish for national commercials. Throughout these times, I had been able to sing on many demos and land some paid voice work, but my break came when I became the voice of Gamecube and my SAG voice work took off. I went freelance with audio engineering in order to do session voice work as well. I voice narration, training, commercials, jingles, and over 50 audiobooks (I incorporate long format cold reads into my daily workout routine. The better I get, the less I have to edit!). Since returning to my roots in Ohio, I transitioned to working for a range of clients from small businesses to Fortune 500 companies in field mixing and post-production for picture, and voice work.
I am an AES Governor and vote on the ECC as Chair of Conferences. My other AES committees include Diversity, Equity, and Inclusion Committee (DEI), and Education. I founded the AES Columbus Section and take part in several several technical advisory groups including the Fort Hayes Audio Advisory. I'm an Audible Approved Producer and staff at Capital University Conservatory of Music's Music Technology Department where I work with seniors to coordinate their internships across genres of audio.
AES is amazing. There is great efficiency to staying current in all aspects of audio within a concentrated community that speaks the language every day. There's not a lot of "noise" around finding relevant and current info.
The range of expertise from AES members is astounding, and this group works together to bring highly intelligent standards to the world of media. And there is a appreciative consciousness surrounding creativity.
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