Ryan Majoris

"I wouldn’t hesitate for a second to recommend Ryan to anyone who needs music that people will remember." Douglas Gibson - Composer and Orchestrator

Tips on Making Your Kick Beef City

Ahh, the eternal conundrum: We all want a song where every instrument and sound is perfectly clear, loud, and contributing to a greater whole. To have our listeners be truly moved by the momentum and emotion that is flowing from their speakers. It’s why we got in the biz yeah?? I think we forget sometimes though that for everything to be perfectly audible and clear, it means that nothing is perfectly audible and clear, kinda like that Jason Lee bit from The Incredibles.

Jason Lee_Incredibles

Dastardly right? But very true and very applicable to mixing. When mixing, the goal is to have all your pieces work together to make a cohesive whole. It’s sort of like a giant puzzle, except you can change the shape of these puzzle pieces, and it can of course change colors whenever the mood strikes. Oh and it’s also a 3D puzzle… that’s invisible. So yeah, kinda tough but that’s basically what mixing is: attempting to make an invisible wave that wants to go anywhere and everywhere play nice with an infinite number of other invisible waves for three and a half minutes. Also don’t forget cowbell.

In this concoction of confusion, how do we achieve clarity with certain aspects and which ones should they be? This and more is our topic of discussion today: How we get the kick to pump through the mix. We'll cover:

- The importance of excellent source material

- Where to get your samples

- Choosing a sample

- Creating space for your kick

-Beefing it up

There are certain genres where kick isn’t quite as important (like classical or certain types of world music) but for our purposes we’ll be focusing mainly on how we can get the kick super fat in a modern music production scenario. So let's get it! 

The 2 Most Important Factors

So how do we make it all perfect? Simple, be this guy:

  He can do anything because he's an alien android

He can do anything because he's an alien android

For the rest of you mortals, read on. 

Basically, for our kick to get on the path to being Thor’s Hammer status huge, we need two very important things:

1. Excellent source material (Sample or live recording)

2. Room for it to exist in a potentially crowded mix

(Note: EQ and compression come later, gotta choose a kick before you edit it.)

1. Excellent source material

I really can’t emphasize enough how important this is. Your life is made impossibly easier by getting an excellent starting point. It goes back to the old saying of how you can’t polish a turd.

No matter how much you polish it, it’s still a turd. Don't get me wrong, you can do a lot of amazing things with modern production for sure. Manipulating and fucking with sounds is imperative to the creative process these days and there is always room for layering, which we won't be getting to into in this post, but starting with an exemplary kick is the surest way to get your track on the right… track… Sorry.


So how do we succeed with step 1? Two more factors must be taken into account:

1A. Choosing a sample that is appropriate for your unique song

1B. Where the hell you do get your sample? (I’ve chosen to go with samples as opposed to tracking live drums since that's the overwhelming favorite for production these days.)

1A. Choosing a sample

Picking a kick that’s appropriate for your song is not something to be taken lightly as the samples are inherently tied to the actual composition. Allow me to bring forth an example. Back in the Motown days, the characteristics of the kick really didn’t matter. If it was slightly out of tune or a bit clunky for the song, sure the drummer or producer may have said something to touch it up but at the end of the day, it was a piece of the puzzle that was not nearly as important as the vocal and the composition. Listen to this bit and tell me to my face that they could have used any of the other 20 kicks in the studio and it would have made a huge difference:

Can't even hear that fuckin kick. 

I of course say this with a super deep love for Motown so don’t get the wrong idea. I simply chose it because it’s a well loved piece of American culture and everyone knows it so it’s an easy example for everyone to get.

In the 70's and 80’s, the kick was becoming much more prominent as production values were steadily improving and by the 90's with techno, house, and other electronic dance genres especially, the kick was becoming the main aspect for A LOT of music. Because of improving production value, the kick now had the ability to move people like it never could before. Not only that, it had the capability of shaping the character of the track, not just the low end thump which it used to.

As one continues to develop their production chops and refine their composing tastes, likes, and dislikes, you will find that your desire will lead you to favor certain sounds, tones, and timbres. 

(Note: We're not going to touch on layering samples in this post since that's the next step of building kicks and we're focusing on the foundation but just know it is something that happens all the time and it's freaking awesome.)

1B. Where to Get Your Samples

Before we get into it, this is a very deep rabbit hole as there really isn't an end to what you can do. The truth is that a lot of the drums you hear in the latest Major Lazer or Drake track are ones that the producers have not only used many times before, but share with each other. It’s a small world and a lot of these music makers know each other so they share tips/secrets and sharing samples is a big part of that. So what can we do today if we don't have access to that?

FUCK AROUND UNTIL YOU FIND SOME YOU LIKE.

There are so many libraries out there it’s sickening, where does one begin? Really, I can’t tell you that exactly. My taste are different than yours and I have no idea what you’re trying to make/what it’s contributing to so I couldn’t possibly tell you exactly where to go but I can give you a couple tips:

After you get your DAW, you'll have certain sounds that come with it so go through them all. That’s right, sit there and hit the down arrow until you’ve heard them and when you like one, write that shit down and keep it for later. Maybe even write some adjectives about it so you can check back when you’re producing. "Hmm, this kick has some nice clip in the 1-2K range but it's also nice and boomy in the lows and has a dark/mysterious quality to it. It also feels blue." That’s right, color your fucking kicks. Try to put some thought into the descriptions when you find some you like as it will help you in the heat of inspiration when you need that kick and you need it quickly. You’re a producer and the kick is part of your palette so put some time into finding some that work with your tastes. To find a couple you like should take less than an hour. Well worth the investment. Here are some that I use a lot:

Sample Libraries

Then there’s the pandora’s box of sample libraries. I’m really not going to go into this too much but I will say that something like Komplete by Native is a great place to start. It’s pricey but GODDAAMMNN you get a lot with it and if you’re serious about production, save up for a couple months and pony up the dough. You can sometimes find it for $500 or so.

(Note: You could just get Battery, Natives flagship drum sampler, but to save money in the long run, think about getting the whole package because not only do some of the studio drummer samples sound pretty good, but guess what? Your track is going to have more than kick in it! So don’t forget to have some high quality samples for the rest of your track as well.)

Be on the lookout for your favorite producers signature sample pack as well. We're fully entrenched in the information age and it’s getting to the point where it’s almost weird for a successful individual to not share some of their secrets. There are of course exceptions but nowadays, information is everywhere and sharing it is one of the most rewarding things one can do. You’ll never be Timbaland but hey, you can watch a youtube video where he shares some of his techniques. By doing that he's making the collective music making community better which is great, and it doesn't hurt he's gonna make a couple bucks on it too. Producers know this and some make their custom sample packs available for purchase. If you really dig someones shit, go see if they have a sample pack or maybe one that they use frequently for their own stuff. Keep in mind that LitSounds also has some sample packs so check those out here(insert link) if you wanna see how we do. 

It’s also worth mentioning that if your goal is to flip samples and make beats that way, there is one source that is free, endless, and awesome: Youtube.

Get a youtube mp3 ripper and rip for days, rip until the fucking cows come home and chop up those kicks and make an army of your own. This is a deeeeeep rabbit hole so be very warned.

2. Giving Your Kick Room

Jeez, finally. Done with thing 1. Ok, thing 2 is when shit gets real: Mixing.

I’m glad we got this out of the way earlier but to recap, mixing is hard and a complete balancing act in the most literal sense. She knows:

quick thoughts on Perspective

If you want something to seem close, it means you have to have something far away, having something bright means you need something dark and so on.

So how does that relate to the kick? Well, it’s simple: To make your kick huge and full you need something seem small, far away, or lacking in frequency information. I’m not going to get too into this idea of everything being relative because it is one of the pillars of mixing and that’s not only a whole post, but a whole library of information way too long for this. Check out some Youtube vids if you want to start digging but always keep this in mind: When in doubt, it’s all about perspective.

 The front of this subway car is closer to the viewer, therefore clearer than the sign in the background.

The front of this subway car is closer to the viewer, therefore clearer than the sign in the background.

But for example, you could have a really verbed out keyboard patch that is also pretty filtered which would give it the illusion of being far away. This in turn will make your kick bigger. But having that is not the total solution since there are things in the mix you don't want to seem super far away right? So what then?

Let's investigate. 

Take our kick right here:

It's got a nice little clip to it, some sub around 55 hz, and a nice cuppy-like body around 170 hz. (Cuppy-like body... kinda weird right? But that's what it sounds like to me and now I have a frame of reference. Adjectives people.) 

Ok, let’s add some bass:

This bass line is starting to clog up our lows and making the upper frequencies of the kick hidden. We haven’t even added vocals or glock yet and it’s already getting crowded! Fuck! 

Enter EQ

Enter EQ. If you’re unfamiliar with EQ then I would recommend getting familiar with at least the basics as soon as possible as it is by far one of the most important aspects of mixing and production. Perhaps I’ll write a post on EQ specifically some other time but for now let’s just say when we EQ something, we either make part of the sound go away or we enhance part of it depending on what we want to accomplish.  

We’ve already established that our kick has some areas that are strong and it just so happens our bass has areas that are strong as well and they happen to coincide. Double Fuck!!

So what do we do? Simple: We EQ the bass. We take away from the bass the areas the kick has strength in so those strengths can flourish. DO NOT JUST TURN UP THE KICK. That is the surest way to get your track on the Clipping Like Crazy Express. We haven’t adjusted the volume at all but check out how they sound together now:

The difference is quite noticeable. 

(Note: Keep in mind that “A/B-ing” like this is extremely common and you will be doing it all the time.)

To a greater extent, as you continue to hone your mixing chops, you’ll find that many elements of the mix will work like this, especially vocal. Some instruments and samples sound amazing on their own but in the mix, we gotta cut some of that shit out to make room for something else. Remember, it’s a balancing act with invisible waves that want to do whatever they want.

Compression

The last thing we’ll discuss in this section is compression. Once again, another super important aspect of production. It will be your other best friend (Although delay is cool as fuck and something that is endlessly fun to mess around with).

For those who aren't familiar with compression yet, here's a great description of its purpose:

"Compression is the process of lessening the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals." Source

There are a lot of things you can do with compression since you have the capability to really mess with a sound wave but you can also just slightly compress it for a smoothing effect which is helpful too. Here are a couple more vids that may help:

This dude is Brian Lee White and he knows his shit. Nice explanation of compression here.

Another Solid Vid

Keep in mind that every DAW comes with an EQ and compressor so use those if you can’t afford a new plug-in at the moment. Honestly, they’re usually pretty solid and will get the job done.

Once you’ve gotten a bomb sample that works well with your composition and done your best to EQ and compress to taste, believe it or not, you’re 90% of the way there. If you were literally just making a track that was a kick pumping all the way through by itself, you’d pretty much be done but fitting it in with the rest of the song takes tweaks that happen as you go so keep in mind that once you get the kick up and running, it doesn’t have to be perfect, you can make it perfect later once other elements are involved and you know which one may be fighting it. 

Remember that EQing, especially for kick, will most likely happen with many different instruments to make sure it sounds fat af and stays BEEFY.

 If that burger were a kick, it’d be beefy as fuck.

If that burger were a kick, it’d be beefy as fuck.

Wrap Up

We didn’t touch on some very important things like sidechain compression, layering kicks, and other ways to manipulate and bring out your samples but there is only so much time I have for ya sports fans so if you’d like to hear about level two of kick-beefiness, let us know and we’ll do it.

And there you have it. If this is your first foray into production, guess what, THIS WILL NOT SOUND AMAZING THE FIRST TIME.

No one in the history of anything has ever been amazing the first time they did anything so keep that in mind. If you love doing this and your goal is to constantly and consistently improve your craft, strap in and hunker down for the long haul because it won’t happen overnight. That isn’t supposed to be negative though, it’s supposed to be extremely encouraging as only after putting in the hours and enjoying the journey will you be able to reap the benefits and trust me, once you get to a point where you are constantly surprising yourself with your own production value, it's incredibly validating and rewarding. Keep making tracks and showing your friends, producers and non-producers alike, and keep asking for their thoughts and opinions. Keep listening to excellent mixes and comparing yours to theirs. It’s one of the best pieces of advice I can give.

So to recap:

1. Excellent source material

Take the time to find good sounding kicks through a variety of ways that work with your unique voice. This will require some experimentation and some chatting with other producers but it is well worth spending some time and a couple bucks on. It's what your tracks will be made of. 

2. Give it Room

Perspective, EQing, Compression, they're all part of our invisible puzzle that will shape our kick for maximum beef-age. Keep at it and eventually they'll make sense. 

That’s all I got guys, keep writing and feel free to send me some tracks if you want some thoughts on your Kick-aroonis.

 


-Ryan

Tips on Making Your Kick Beef City

Ahh, the eternal conundrum: we all want a song where every instrument and sound is perfectly clear, loud, and contributing to a greater whole. To have our listeners be truly moved by the momentum and emotion that is flowing from their speakers. It’s why we got in the biz yeah?? I think we forget sometimes though that for everything to be perfectly audible and clear, it means that nothing is perfectly audible and clear, kinda like that Jason Lee bit from The Incredibles.

Jason Lee_Incredibles

Dastardly right? But very true and very applicable to mixing. When mixing, the goal is to have all your pieces work together to make a cohesive whole. It’s sort of like a giant puzzle, except you can change the shape of these puzzle pieces, and it can of course change colors whenever the mood strikes. Oh and it’s also a 3D puzzle… that’s invisible. So yeah, kinda tough but that’s basically what mixing is: attempting to make an invisible wave that wants to go anywhere and everywhere play nice with an infinite number of other invisible waves for 2 and a half minutes. Also don’t forget cowbell.

In this concoction of confusion, how do we achieve clarity with certain aspects and which ones should they be? This and more is our topic of discussion today: How we get the kick to move the listener. There are certain genres where a beefy kick isn’t quite as important, like classical or some types of world music,  but for our purposes, we’ll be focusing mainly on how can get the kick super fat in a modern music production scenario.

So how do we make it all perfect? Simple: be this guy

  He can do anything he wants because he's an alien android

He can do anything he wants because he's an alien android

For the rest of you mortals, read on. 

Basically, for our kick to be Thor’s Hammer status huge, we need two very important things:

1. Excellent source material(Sample or live recording)

2. Room for it to exist in a potentially crowded mix

(Note: I’ve neglected compression and EQ for now because that is something that we'll talk about later. You need to choose a kick before you edit it.)

I really can’t emphasize enough how important number 1 is. Your life is made impossibly easier by getting an excellent starting point. It goes back to the old saying of you can’t polish a turd.

No matter how much you do to it, it’s still a turd. Now you can do a lot of amazing things with modern production. Manipulating and fucking with sounds is imperative to the creative process these days and there is always room for layering, which we won't be getting to into in this post, but starting with an exemplary kick is the surest way to get your track on the right… track… Sorry.


So how do we succeed with step 1? Two more factors must be taken into account:

1A. Choosing a sample that is appropriate for your unique song

1B. Where the hell you do get your sample?(I’ve chosen to go with samples as opposed to tracking live drums since that will be the case 99.9% of the time and I imagine if you have your own studio with a drum tracking room, you probably don’t need to read my ramblings.)

Choosing a sample that’s appropriate for your song is not something to be taken lightly as the samples are inherently tied to the actual composition. Allow me to bring forth an example. Back in the Motown days, the characteristics of the kick really didn’t matter. If it was slightly out of tune or a bit clunky for the song, sure the drummer or producer may have said something to touch it up but at the end of the day, it was a piece of the puzzle that was not nearly as important as the vocal and the composition. Listen to this bit and tell me to my face that they could have used any of the other 20 kick drums in the studio and it would have made a huge difference:

Can't even hear that fuckin kick. 

I of course say this with a super deep love for Motown so don’t get the wrong idea. I simply chose it because it’s a well loved piece of American culture and everyone knows it so it’s an easy example for everyone to get.

In the 70's and 80’s, the kick was becoming much more prominent as production values were steadily improving and by the 90's with techno, house, and other electronic dance genres especially, the kick was becoming the main aspect for A LOT of music. Because of improving production value, the kick now had the ability to move people like it never could before. Not only that, it had the capability of shaping the character of the track, not just the low end thump which it used to.

As one continues to develop their production chops and refine the their composing tastes, likes, and dislikes, you will find that your desire will lead you to favor certain sounds, tones, and timbres. Here are some of my personal favs as well:

(Some of my favorite kicks)

Which perfectly segue ways into our next section where we talk about where to get these samples. Before we get into it, this is a very deep rabbit hole as there really isn't an end to what you can do. The truth is that a lot of the drums you hear in the latest Major Lazer or Drake track are ones that the producers have not only used many times before, but share with each other. It’s a small world and a lot of these music makers know each other so they share tips/secrets and sharing samples is a big part of that. Once again, assuming you’re not producing the Beebz next album and if you’re reading this you probably don’t have those types of connections so let’s do the next best thing:

FUCK AROUND UNTIL YOU FIND SOME YOU LIKE.

There are so many libraries out there it’s sickening, where does one begin? Really, I can’t tell you that exactly. My taste are different than yours and I have no idea what you’re trying to make/what it’s contributing to so I couldn’t possibly tell you exactly where to go but I can give you a couple tips:

After you get your DAW, you'll have certain sounds that come with it so go through them all. That’s right, sit there and hit the down arrow until you’ve heard them and when you like one, write that shit down and keep it for later. Maybe even write some adjectives about it so you can check back when you’re producing. "Hmm, this kick has some nice clip in the 1-2K range but it's also nice and boomy in the lows and has a dark/mysterious quality to it. It also feels blue." That’s right, color your fucking kicks. Try to put some thought into the descriptions when you find some you like as it will help you in the heat of inspiration when you need that kick and you need it now. You’re a producer and the kick is part of your palette so put some time into finding some that work with your tastes. To find a couple you like should take less than an hour. Well worth the investment.  

Then there’s the pandora’s box of sample libraries. I’m really not going to go into this too much but I will say that something like Komplete by Native is a great place to start. It’s pricey but GODDAAMMNN you get a lot with it and if you’re serious about production, save up for a couple months and pony up the dough. You can sometimes find it for $500 or so.

(Note: You could just get Battery, Natives flagship drum sampler, but to save money in the long run, think about getting the whole package because not only do some of the studio drummer samples sound pretty good but guess what, you’re track will have more than kick in it! So don’t forget to have some high quality options for everything else as well.)

Be on the lookout for your favorite producers signature sample pack as well. We're fully entrenched in the information age and it’s getting to the point where it’s almost weird for a successful individual not to share some of their secrets. There are of course exceptions but nowadays, information is everywhere and sharing it is one of the most rewarding things one can do. You’ll never truly be Timbaland but hey, you can watch a youtube video where he shares some of his techniques. By doing that he's making the collective music making community better which is great, and it doesn't hurt he's gonna make a couple bucks on it too. Beatmakers know this and make their custom sample packs available for purchase. If you really dig someones shit, go see if they have a sample pack or maybe one that they use frequently for their own stuff.

It’s also worth mentioning that if your goal is to flip samples and make beats that way, there is one source that is free, endless, and awesome: Youtube.

Get a youtube mp3 ripper and rip for days, rip until the fucking cows come home and chop up those kicks and make an army of your own. This is a deeeeeep rabbit hole so be very warned.

Jeez, finally. Done with thing 1. Ok, thing 2 is when shit gets real: Mixing.

I’m glad we got this out of the way earlier but to recap, mixing is hard and a complete balancing act in the most literal sense. She knows:

Getting back to perspective, if you want something to seem close, it means you have to have something far away, having something bright means you need something dark and so on.

So how does that relate to the kick? Well it’s simple, to make your kick huge and full, you need something seem small, far away, or lacking in frequency information. I’m not going to get too into this idea of everything being relative because it is one of the pillars of mixing and that’s not only a whole post, but a whole library of information way too long for this. Check out some Youtube vids if you want to know more but always keep this in mind: When in doubt, it’s all about perspective.

Moving on from that, having a far away and filtered out keyboard patch for example and your well chosen kick is not the total solution. So what's next? GETTING SHIT OUT OF THE WAY.

Let’s take our kick right here:

(kick sample)

It has a nice frequency response at __, __, and __. Obviously there is more going on there than those three but it’s a good place to start.

Now that we know where it’s strength lies, let’s add some bass:

(add kick with bass)

This bass line is starting to clog up our lows and making the kick a little hidden. We haven’t even added vocals or glock yet and it’s already getting muddy! Fuck!

Enter EQ. If you’re unfamiliar with EQ then I would recommend getting incredibly familiar with it as soon as possible as it will be in the top 3 most important things in mixing. Perhaps I’ll write a post on that some other time but for now let’s just say when we EQ something, we make part of the sound go away or get enhanced depending on what we want. 

We’ve already established that our kick has some areas that are strong and it just so happens our bass has areas that are strong as well and they happen to coincide. Double Fuck!!

So what do we do? Simple, we EQ the bass. We take away from the bass the areas that the kick has strength in so those strengths can flourish. DO NOT JUST TURN UP THE KICK. That is the surest way to get your track on the Clipping Like Crazy Express. We haven’t adjusted the volume at all but check out how they sound together now:

(SOUND CLIP)

Compare that to the first one example and the difference is quite apparent.

(Note: Keep in mind that “A/B-ing” like this is extremely common and you will be doing it all the time.)

To a greater extent, as you continue to hone your mixing chops, you’ll find that many elements of the mix will work like this, especially vocal. Some instruments and samples sound amazing on their own but in the mix, we gotta cut some of that shit out to make room for something else. Remember, it’s a balancing act with invisible waves that want to do whatever they want.

The last thing we’ll discuss in here is compression. Once again, if you’re not familiar with compression, GET FAMILIAR WITH COMPRESSION. It will be your other best friend(Although delay is cool as fuck and something that is endlessly fun to mess around with).

Long story short, compression takes a sound, say a bass guitar, and chops off all the peaks of it and brings the remaining sound wave up to make a more consistent audio file. Google compression and you can watch videos ad nauseam about it but here are a couple that I have found particularly helpful:

This dude is Brian Lee White and he knows his shit. Nice explanation of compression here.

Another Solid Vid

Keep in mind that every DAW comes with an EQ and compressor so use those if you can’t afford a new plug-in at the moment. Honestly, they’re usually pretty solid and will get the job done.

Once you’ve gotten a bomb sample that works well with your composition and done your best to EQ and compress to taste, believe it or not, you’re 90% of the way there. If you were literally just making a track that was a kick pumping all the way through, then you’d actually be done but fitting it in with the rest of the song takes tweaks that happen as you go so keep in mind that once you get the kick up and running, it doesn’t have to be perfect, you can make it perfect later.

Remember that EQing, especially for the kick, will most likely happen with many different instruments to make sure it sounds fat af and stays BEEFY.

  If that burger were a kick, it’d be beefy as fuck

If that burger were a kick, it’d be beefy as fuck

We didn’t touch on some very important things like sidechain compression, layering kicks, and other ways to manipulate and bring your kick out but there is only so much time I have for ya sports fans so if you’d like to hear about level two of kick-beefiness, let us know and we’ll do it.

And there you have it. If this is your first foray into production, guess what, THIS WILL NOT SOUND AMAZING THE FIRST TIME.

No one in the history of anything has ever been amazing the first time they did anything so keep that in mind. If you love doing this and your goal is to constantly and consistently improve your craft, strap in and hunker down for the long haul because it won’t happen overnight. That isn’t supposed to be negative though, it’s supposed to be extremely encouraging as only after putting in the hours and enjoying the journey will you be able to reap the benefits and trust me, once you get to a point where you are constantly surprising yourself with your own production value, it's incredibly validating and rewarding. Keep making tracks and showing your friends, producers and non-producers alike, and keep asking for their thoughts and opinions. Keep listening to excellent mixes and comparing yours to theirs. It’s one of the best pieces of advice I can give.

That’s all I got guys, keep writing and feel free to send me some tracks if you want some thoughts on your Kick-aroonis.

 


-Ryan

Jeez, been a while

Hey everyone. 

Apologies for the long absence from posting. I've been quite busy in NYC with all types of different music stuff that sometimes, posting about it takes a backseat to actually getting it done :) Needless to say, it's been going great and will continue for sure. Thanks to everyone sending good vibes my way. 

-Ryan

NYC!

Well, I finally did it people. I've moved to NYC. All my life I've always wanted to live in this city as it was just right around the corner from where I grew up in Jersey. Life has brought me from NJ, to Boston, to Seattle, and now I'm back to the East coast and living in one of the greatest cities in the world. Time will tell what adventures the big city will bring and I'm excited for them all. Here's to new and dazzling times in 2016. 

-Ryan

Nov 23, 2015: Happy Thanksgiving everyone! So much to be thankful for this year, one of which is a 2016 that is shaping to be a big year for yours truly. Lately I've been working on an old school punk rock track for a musical, shaping up for a big announcement that'll come in January, and some great sounding rock tracks, some of which will hopefully get some great placements. I will keep everyone updated as things progress! 

Oct 12, 2015: Just finished up the score to a 48-Hour Film Fest film with my buddy Kyle Misak directing. The film is called The Silent Silver Screen and here's the film and a link to vote for a Facebook Viewer's Choice Award! 

Aug 4, 2015: Writing for Blast Beat has officially begun and I couldn't be more excited! Hoping for a smooth writing process for this one while learning a couple things too :) Here's the Facebook incase you missed it. 

July 14, 2015: Been writing a ton of jingles lately so unfortunately I can not only not show them, but not even discuss the project most of the time! I will announce though if I can as I find myself doing more of them these days! 

June 13, 2015: My first show with Revi is today and I couldn't be more excited! We'll be playing the Cutting Room in NYC at 10:30. More shows to come in the future. 

June 4, 2015: I am just pumped to announce I'll be doing the original music to the short film, "Blast Beat" directed by Esteban Arango. What an amazing script and story. I can't wait to see what comes of this one! 

May 20, 2015: Very excited to announce that I'll be doing the original score to the short film, "Closure" directed by Koby Adom. Here's a link to the successful Kickstarter campaign. 

April 25, 2015: Busy month! Just finished up the score to the short "This Place", here's the fb page, as well as "Fare Thee Well" which was the film for the Waterloo Short Film Score Competition. Here's the all the info for the competition. Hopefully the judges dig!

March 5, 2015: I am pleased to announce that I will be doing the original score for the action thriller, "Occurrence". You can see the teaser here and find out more about the film at Fortitude Productionswebsite

Dec 10, 2014: I am happy to announce that I have successfully made it back from my first cruise ship gig. I played bass in the house band while the ship sailed the Caribbean. It was a fun experience but it feels great to get back to my studio and getting back to work!