For more than 25 years, I've been creating music, sound design, and custom software & hardware, predominantly for film, television, dance, theatre, art, and live performances. My experiences as a filmmaker guides my approach to making music, whether I'm telling my own stories or helping others tell theirs.
My services include (but aren't limited to): Scoring to Picture, Custom Music Libraries, Sound Design, Custom Synthesizer Design, Music Editing, Music/Score Supervising & Consultation, and Design/Building Interactive Environments.
Whether your project is a 3 second mnemonic, a 4 hour epic feature film, a custom physical enivronment, or somethwere in between, I'll work with you to bring your story to life!
News & Updates
Summer 2026 - Tony Theatrical Release
Working with Tony composer Jay McCarroll is always a treat. His musical instinct and abilities are impeccable, and so my role as a Score Consultant was mostly about being a sounding board; Jay will have an idea for how he wants to approach a cue, and it's probably already a great idea that just needs to be facilitated. I loved working with Jay on this, listening to his ideas as they developed from simple concepts into a beautiful, intimate score that perfectly encapsulates the brooding brilliance of Anthony Bourdain.
Spring 2026 - Digital Innovation Hub “Innovator In Residence”
It's no secret that Artificial Intelligence is causing huge ripples in the Entertainment Industry as it disrupts everything from the creative process to the legality of ownership. My own experiences with it were less-than-kind, but I decided to take a step back from my own bad reactions to try to understand it academically. After all, when synthesizers, drum machines, and even record players became available, each caused negative ripples of their own. As luck would have it, the Digital Innovation Hub (part of the Toronto Public Library system) was looking for someone to explore the ways AI was affecting Music Production. And so, over three fascinating months, I lead a group of students through a course designed to explore the issues of legality and environmental sustainability created by AI, as well as its potential as a genuine creative tool that can shorten the time between creative concepts and execution. If you'd like to know more about what we did and what we learned, check out this website: Innovator In Residence, Spring 2026.
Winter/Spring 2026 - The Campaign: Disinformation in a Time of War
What happens when lies become weaponized and hate becomes industrialized? This project was one of the most emotionally challenging I've faced, for so many reasons. I'm a big ‘feeler' - it's not hard for me to feel empathy or to be moved by what I see onscreen, and I think it helps me score films. But when what I'm seeing is real devastation, real violence, real hate, and real threats, it's easy to fall in to a dark place. On a project of this nature, it's important to set a tone and create a pace, but to avoid editorializing as much as possible. To quote Kari Hollend (one of the director/producers) you cannot make a film about propaganda and have it be propaganda. It was an honour to be part of this project - an emotionally draining, heartbreaking, terrifying honour.
Listen to some of the music from “The Campaign: Disinformation in a Time of War”
Winter/Spring2025 - Nirvanna The Band the Show The Movie
I had so many confusing conversations trying to explain this film to those who were unfamiliar with the Vice series or the original web episodes; “Does it cover their whole career?” - “It's not about the band Nirvana… at all”; “Is it reality or scripted? - ”Both, kind of?"; “Do you need to be a fan of Nirvana to enjoy the film?” - “Again, it's not about the band, Nirvana, it's about Nirvanna The Band”. From the moment I saw the early rough cuts, I knew Jay & Matt hand one of the greatest comedies ever in the barrel, and I don't mean that as hyperbole - it's hilarious, surreal, brilliantly structured, subversive, but, at it's core, it's incredibly sweet, in no small part because of the emotional resonance of Jay's score. I've been friends with him for a while - we met many years ago while working in the music-for-advertising world. When he asked me to assist him with the score, I was excited because it was a chance to work with a friend who also happens to be an incredible composer. However, when I saw the film, I realized how truly special it was. Assisting Jay is not hard to do - his musical instinct is pretty impeccable. Being a Score Consultant for him mostly just involves listening to his ideas and affirming his instincts. That said, if you listen really carefully during the infamous CN Tower scene, you may hear some Silverphonic synth pulses in action.