About

I've been making music for about as long as I can remember. As a toddler, my siblings and I marched around the house banging on diaper bags as "the Baby Band." Not long after, I was putting on full performances for my family, singing along to cassette tapes of whatever pop music I could get my hands on.

That love of performing turned into something more serious in middle school. I started on clarinet in 6th grade, but a year later I noticed the drummers set up in the back of the room — and once I realized that was an option, I never looked back. I took lessons, auditioned for percussion, and quickly worked my way up the ranks. From there I fell in love with percussion in all its forms: the standards like snare, bass drum, and marimba, but also more exotic instruments like African pitched drums, congas, and bongos. I played in both concert and marching band throughout middle and high school — and marching band in particular taught me just how essential precision and timing really are. Everything has to be done exactly right and exactly on beat, or the whole formation falls apart around you.

At 16, I picked up guitar and started singing, solo and in bands, and I haven't stopped in the 25 years since.

At James Madison University, I threw myself into music coursework — enough to essentially complete a music minor's worth of classes, earning A's throughout. I ultimately followed my curiosity toward a Bachelor's in Interdisciplinary Social Sciences (JMU's fancier way of saying History), which gave me a deeper understanding of people and how the world gets understood and told — something that shapes how I approach music today, especially when it comes to portraying people and situations in ways that feel real and emotionally honest. I followed that with a Master's in Teaching, and spent years teaching students — mostly high schoolers — as well as five years teaching fellow teachers how to bring technology into their classrooms, before coming home full-time to raise my two sons.

I've loved video games since I was about 4 years old, when I fell for Street Fighter 2. What's kept me hooked ever since is how immersive games can be — and how much of that immersion comes down to sound. Long after a game ends, it's often the music that stays with you. That's exactly why I love this work: getting to team up with a developer to help bring an exciting, fun, spooky, or meaningful world to life, and then watching people actually step into it, is unlike anything else in entertainment.

I bring that same meticulous attention to the music I create today. Just like marching band taught me that being even a fraction off-beat throws off everyone around you, I know that in game audio, timing and precision aren't just nice-to-haves — they're what makes a moment actually land for the player. Alongside that precision, I care a lot about doing things professionally and on time, because a great collaboration depends on trust as much as talent.

These days, I compose and design sound in Logic Pro, I'm currently building out my FMOD skills, and I've worked hands-on with both Unity and Godot. Outside of music, home is where I get to keep building imaginary worlds — I've been married to my wife since 2011, and our two sons give me an even deeper appreciation for the kind of wide-eyed wonder that games at their best can create.

If you're working on something and think we might be a good fit, I'd love to hear about it — reach out anytime.