ORIGINAL MUSIC FOR "DREAM COUNTY": EXQUISITE EUPHONIUM PERFORMANCE

Most of my music and sound these days is synched with something on some screen or other, but every once in a while I’m tempted back into theater work like a retired gunfighter called in to take out one last man. Sam Landman’s original play “Dream County” opens this coming Thursday at the Twin Cities Horror Festival. Thanks to Kevin’s generous loan of his euphonium, I was able to capture the refined, graceful tone of the show for a fanfare cue. I’d also like to mention that I’m available for session work, if you think you can afford me. More info on “Dream County”: http://www.tchorrorfestival.com/dream-county.htm

“Some people recall watching Cousin Clem's Magical Couch Fort every Saturday morning as kids. Others have never seen an episode, claiming the tragic series finale is nothing but urban myth. Somewhere between real and imaginary lies Dream County, a whimsical world where Cousin Clem would hide away in. We present the finale as it supposedly happened.”

GAME AUDIO IN PROGRESS: LUMINESCENCE

Some SFX work in progress on a game called Luminescence-- very much concerned with light, electricity, lasers, and what have you. It’s another lo-fi retro-futurist world we’re creating, so I’m continuing my exploration of generating sound effects using an analog synth. The first cluster of sounds are proposals for lasers that a guy shoots out of his hands-- like most games, this one is ripped from today’s headlines-- and the third cluster is an idea for footsteps. The middle sound is something I came up with pretty much by accident, that might come in handy for some sort of energy field at some point. More work in games

"ELIXIR": FOLEY, SOUND EDIT AND MIX FOR FANTASY/ HORROR SHORT

Equal parts magical fantasy and undead horror, "Elixir" is a short film by director Justin Staggs. Junior Birdman Audio provided Foley, sound edit and mix. Picture lock arrived at the studio completely silent, with no audio recorded on location whatsoever. Every sound you hear in the movie-- which you can view in its entirety at the link below-- was created and/ or cut in by yours truly and composer David Gerald Sutton. Voice talent Molly Ryman provided ADR performance for the protagonist’s vocalizations throughout the piece. Staggs brought in a variety of SFX to get me going, and I ransacked my library for more. But many elements-- like the blood drops, the woodsy footsteps and the dangling necklace-- are custom cues created just for this production.