Sound Design, Surround Mix, Scoring, Interactive Audio Systems Design, Sound Supervision

Sound Design, Scoring, Surround Mix, Interactive Audio Systems Design

Sound Design, Scoring, Surround Mix, Interactive Audio Systems Design

I composed and performed music for Jonghee Woo’s feature-length “The Burning Field” at the Arko Arts Theater in Seoul, South Korea in Spring 2020. The show has gone on to massive critical acclaim in the Korean theatre scene, with yearly performances through 2025 and celebrity cast members.

I recorded and mixed the premiere studio recording of legendary composer Phill Niblock’s “Exploratory” for microtonal accordion. Recording released on a Niblock box set in Summer 2020.

As a one-stop-audio-and-music-shop, I scored, sound designed, produced, and mixed (in Dolby Atmos) two projection mapped installations for the Museum of Ice Cream’s first permanent NYC space.

As a keynote speaker at the DRWK Conference, I spoke on hands-on multichannel audio scenarios for actors and movement artists. Sponsored by Arts Council Korea.

Along with bassist and composer Ben Finley, I facilitated and participated in the yearly 2019 Westben Performer-Composer Residency in Campbellford, Ontario, Canada.

I performed on electronics and sound designed for Chris Williams and Laura Sofia Perez’s "I Ain’t Got No Spare.” Inspired by the Charles Burnett film Killer of Sheep, this ongoing multimedia performance explores themes of the Black experience in 1970s Los Angeles, and the ephemerality of Black agency.

I was the keynote speaker at IEG World 2019. I spoke about Deep Listening, Pauline Oliveros, silence, and language acquisition to a conference attended by Marketing and Sponsorship professionals.

I was one of 40 artists nationwide invited to Washington, DC to participate in a “Brainstorm” for the new REACH addition to the Kennedy Center. I spent a day prototyping, sharing ideas for socially and technologically engaged art activities, and collaborating with other artists to dream up possibilities for the REACH facility.

I was a sound mixer and editor for Peter Flaherty’s “The Dial,” an AR/VR narrative experience that premiered to critical acclaim at the 2019 Sundance Festival.

Ben Richter, Justin Scheid, and I realized a version of Pauline Oliveros’ piece on Oscillators, Earbees, Walkie Talkies, and Cap Guns for CalArts’ Winter Dance 2018. We “accompanied” a Merce Cunningham choreography at the Sharon Disney Lund Dance Theater, REDCAT, and The Schindler House.

I live-scored “Amber Inheritance,” a talk by Radiolab Producer Simon Adler, at Caveat.nyc in July 2018.

In July 2018, I performed on electronics for the premiere of Ben Finley’s chamber/improvisation piece “Scale Invariance” at Spectrum NYC.

“Variant Depths” is an installation by Olga Lah comprised of 40,000 specimen jar lids. At Olga’s invitation, I composed a piece of generative electronic music (Variant Depths: Slip Sound) to accompany her work at its opening reception in July 2018 at Peter Strauss Ranch.

A theatrical experience based on Henrik Ibsen’s play of the same title, GHOSTS explores multiple shades of morality in the 19th century. I composed music, performed live on analog synthesizer, laptop, and electronics, and was sound designer for Jonghee Woo’s updated and up-twisted 90-minute version. Premiered during a 5 night run at the 2018 Hollywood Fringe Festival.

The brainchild of evil-geniuses Justin Scheid and Ed Park, I played pieces by Justin, Ed, and myself at the Orange County Center for Contemporary Art in May 2018. Mind-bending, retina-burning projections c/o Brian Akenoh!

I live-scored "The Future Of Fake News," a talk by Radiolab producer Simon Adler on vocal synthesis and facial reenactment software. Debuted at the Emerge Impact + Music Festival's "Future of Truth" showcase on the Las Vegas Strip.

A sound installation consisting of bird-like entities that listen to and respond to each other’s “calls,” I served a technical director for artist/designer Claire le Nobel’s Acoustic Connectivity in a Synthetic Ecology. I networked and programmed several Raspberry Pi-driven sculptures that actively identify rhythmic and timbral patterns (using the awesome TimbreID externals in Pure Data) to formulate responses that are output to solenoids that percussively strike wood, metal, and glass resonators. Work installed at ArtCenter College of Design in 2018.

I built and programmed a 360-degree rotating control panel for artist Faith Purvey’s The Shipwreck at Side Street Projects in 2018. The control panel has 6 cool-blue light up arcade buttons that viewers can use to trigger audio of ship’s horns, sea shanties, crashing waves, and even a full rendition of Celine Dion’s “My Heart Will Go On” (a la Titanic).

At the release of Kat and Ben’s epic LP “Cycles on Cycles,” I mixed and programmed a one-time-only quadraphonic piece that played back out of small speakers held and manipulated by four dancers. I also added some grit by performing live on “Pavement.” ArtShare LA, February 2018.

I performed and improvised on electronics and percussion in director Jonghee Woo's multimedia "Dreamscape" at Thymele Arts in Hollywood, CA in March 2018.

I played vibraphone on Erika Bell's "Sucking Stones" and showed a special installation-version of the Fork Organ at Walt Disney Concert Hall for the LA Phil's "Noon to Midnight" event.

Composed by CalArts DMA Sean Hayward, I played vibes for "Other People," a re-imagining of Jean Paul Sarte's one-act play, "No Exit." We define ourselves through the perceptions of those who surround us. How does the gaze of another continue to shape our identity... even after everyone else is gone?