Premiered at the Greenwich House, Manhattan, NY, February 8, 2020, by the Flauto d'Amore Project: Ginevra Petrucci (flauto d'amore in A), Suliman Tekalli (violin), Meagan Turner (viola), Clare Monfredo (cello), and Keenan Zach (bass).

Sometimes there is no constructive way forward, even when we try, and try again, and again; in the end, we are overwhelmed. But this can't *truly* be the end, we ask expectantly: is there nothing to prevent total dissolution from the storms of chaos that we’ve created?

And sometimes... there is nothing. We must prepare ourselves collectively for the likely reality that there is nothing now to save us.

Performed at Stony Brook University, March 4, 2019, by ~Nois saxophone quartet: Brandon Quarles (soprano sax), Hunter Bockes (alto sax), Jordan Lulloff (tenor sax), and János Csontos (baritone sax).

"I Don't Like Your Face" explores aspects of the fear that seems innate to all humans, to greater or lesser degrees in each of us. It's a fear of what we don't understand, and crucially, who we don't understand. When the way humans treat other humans is governed by this fear, the consequences can be devastating. Whether we succumb to it, and how we handle others who have succumbed to it, is up to us as individuals, according to our personal and societal abilities. The piece is structured as a dialogue of sorts between a primary character, played by the soprano sax player, and a kind of chorus, played by the rest of the quartet. As to whether any kind of permanent or at least present resolution to the effects of this fear is possible... I believe it's important to be watchful, and vocal when we see oppression.

Performed by at Tetractys Presents, Austin, TX, February 2, 2019, by F-PLUS: Andrew Hudson (bass clarinet, vocals), Josh Graham (vibraphone, vocals), and Kate Dreyfuss (violin, vocals).

This piece was partially composed while in residence at the Virginia Center for the Creative Arts, with funding assistance from the New York State and Graduate Student Employees Union Professional Development Program; great thanks goes to all institutions. The amazing F-PLUS gamely challenged and vanquished this beast, slashing their way triumphantly through dark and stormy rhythms, screeching lead lines, ominous arpeggios, and even sinister vocal harmonies, and really made the piece their own in ways that I really love. Such a pleasure working with these fine folks, can't wait for more in the future!

Horrorscene isn’t really fictional; it’s happening right now. What is your role?

LYRICS:
A choice: which is your true head?

Yes... sometimes monsters shriek outside,
but this call is coming from inside the house.

Run, fearful, to nostalgic times,
heedless of the slaughters past.
But what Horror’s been awoke within?
And how long before it turns to you?

Eviscerated, let’s consider:
Who walks about with crooked speech,
winks with his eyes, speaks with his feet?
Who’s always pointing his finger?
Who is it that's become the villain?
Who is it that’s become the killer?

Show us your true head.

Full trio transposed score

Premiered at the Aaron Copland School of Music, December 18th, 2012, with PUBLIQuartet: Amanda Gookin, Jannina Norpoth, Nick Revel, and Curtis Stewart.

After premiering this piece at the Aaron Copland School of Music, the fabulous PUBLIQuartet has added it to their frequently performed repertoire, at venues like Carnegie Hall, The Metropolitan Museum of Art, Fordham University at Lincoln Center, and many more. They performed this as one of three entry pieces in the 2013 Concert Artists Guild Competition, in which they were chosen as the New Music/New Places Ensemble and were awarded the Sylvia Ann Hewlett Adventurous Artist Prize. These folks are amazing monsters, and you can find their debut album, featuring this piece, here.

Some brief words:
Frustration; interruption; the happy recklessness of youth; irritating repetition; obsessively turning over an idea well beyond what is useful or healthy; memories brought forth and altered; obnoxious and jarring juxtaposition; irritating repeinterruptionon; anger, misplaced and deserved; chaos and confusion; constructive and abusive dialogue; unfettered joy in the midst.

Full score

Recorded at the 2018 New Music Gathering, Boston, MA, by Howie Kenty (vocals and electronics) and Daniel Pate (percussion).

Let us use his own words to reveal a path that begins with deep insecurity, an insatiable need for validation, and an extreme sense of entitlement. Let us follow it through to the fear, intolerance, and violence that the speaker stokes in many of his followers. If we allow this division to continue, where does this narrative ultimately end?

The salient question for me is how to reveal the toxicity in this nature to those who don’t immediately recognize it; this power lies in inciting latent tendencies. When we each enter this type of exploration, what deep-rooted fears of Other might we find harbored within ourSelves, and crucially, how do we deal with them in our actual interactions?

This piece attempts these challenges by taking quotations as its only compositional seeds, adapting their contours, cadences, and words directly into pitches, rhythms, and text, implementing and re-arranging them to form the entirety of the work. While the audience’s challenge is reflection and considered action, the performer’s is simultaneously more difficult and potentially more alluring; they must possess themself entirely of this visceral, uninhibited id, becoming pure reactive malice, discord, and excitation, unencumbered by contemplation or morality. It’s a remarkably seductive path for everyone, regardless of philosophy.

Burdens of persuasion this tremendous are perhaps impossible for this piece; maybe another desperate scream of absurdity and horror is the only thing realized. Nevertheless, I believe it is a profound moral obligation for each of us to consider these questions and to act on our considerations, deliberately.

LYRICS:

Everybody loves me everybody loves me.
I was with everybody. Everybody loved me.
When I called them, they always treated me well.
I could have gotten anything from anybody.
I get along with everybody. People love me.
I’ve been very successful.
Everybody loves me.

You can do anything. When you’re a star, they let you do it.
You’re a star you’re a star.

A lot of people are saying that bad things are happening out there.
We have some bad, bad, bad, bad, bad, bad people.

Some of them are such lying, disgusting people. I do hate them.
I’ll be honest: I would never kill them. I would never do that.
I get along with everybody. Everybody loved me.

I could stand in the middle of 5th Avenue
and shoot somebody
and I wouldn’t lose any voters.

They let you do it.
Everybody loves me. People love me.
I do hate them. Look at the way I’ve been treated lately.
Lying, disgusting people.
They will be met with fire and fury like the world has never seen.
Like the world has never seen, everybody loves me!

You can do anything. When you’re a star, they let you do it.

Full score

Recorded at the Queens New Music Festival and at Badbox Studios, NYC, May 2019. Performed by Kathleen Supové (piano and voice) and Howie Kenty (electronics).

"What We’re Missing" is part of a set of works exploring the political situation under the 45th president of the United States, examining him and the people affected by his policies. It takes as its subject the separation of children from their families, primarily seeking asylum, at the Mexican/US border. The piece focuses on interactions within a U.S. Customs and Border Protection facility in Texas in June 2018, captured in an audio recording, authenticated and released by the organization ProPublica. In the recording, heavy with sobbing, we hear dialogue between a border patrol agent, a consular worker, and a number of children. While many of the children are unidentified, six-year-old Salvadoran Alison Jimena Valencia Madrid stands out for her memorization of her aunt’s phone number and her perseverance in asking the workers to allow her to make contact. What We’re Missing uses this dialogue, translated from Spanish into English, condensed, and lightly edited, as its lyrical and musical source material. Transcriptions of the children’s sobbing inform many of the musical gestures.

While Alison was eventually able to make contact and reunite with her family, it doesn’t erase the deep trauma she and the other children have experienced. Nor is hers always the outcome for separated children; while approximately 2,800 children and families have been reunited, as of April 2019, there are still children separated from their families, numbering in the potential thousands. If the administration is allowed to continue its policies, they may remain so for several years.

Seeds for "What We're Missing" were generated while in residence at the Aaron Copland House, July through August, 2017, and it was finalized while in residence at the Oberpfälzer Kunstlerhaus, via the Virginia Center for the Creative Arts, in June and July of 2019. Great thanks go to the Copland House, the Oberpfälzer Künstlerhaus, the VCCA, the Queens New Music Festival, and the amazing performer Kathleen Supové.

LYRICS:

Papa, papa… Mama…
Oh, papa… Mama…

Well, we have an orchestra here, right?
What we're missing is a conductor.

Papa…

Don't cry. Don’t cry.

This is her ID number.
Keep this number.
Don't lose it.

Where are you from? And you?
Where are your parents?
Don't cry.

Papa… Mama…

At least can I go with my aunt? I want her to come.
I want my aunt to come so she can take me to her house.
I have her number.

Where are you from?
Where are your parents?
Don't cry. Don't cry.

Are you going to call my aunt so she can pick me up?
I have her number memorized.

Papa… Mama…
I want to go, too! I want to go, too!

Where is your mother?
Where are your parents?

Are you going to call my aunt so she can come pick me up?
So my mom can come as soon as possible.
With Papa… with Papa.

Where is the girl from El Salvador?
Do you have the number?

Yes. 3-4-7-2...

You're going to get there. You're going to get there.
Don’t cry. Don’t cry.

Performed by Adrianna Mateo (violin and voice).

Written for violinist Adrianna Mateo, We Have Less Time Than You Think deals with the fact that we humans do not really have long: on the smaller-scale, in terms of the things we attempt to immediately accomplish, and on relatively larger scales, in the time we can spend with each other, the duration of our individual existences, and the collective lifespan of the human race. One of the truer clichés, time passes in a blur, fluidly and easily escaping attempts to stop or slow its flow, with certain events standing out in hindsight as demarcations of structural points. In my own experience, the longer I have existed, the more the passage of time seems to speed up exponentially; I certainly feel like I have less time than I thought I did. All of the electronic elements in this piece were generated using only violin and vocal samples.

This piece, performed by violinist Tian Boyang (田博阳), placed first in the 2013 Shanghai Electronic Music Week Call-for-Works competition.

Full score

Music and text by Howie Kenty. Performed at the Shanghai International Electronic Music Week, Shanghai Conservatory, October 19th, 2015, by Rebekah Norris (soprano).

Premiered at Abrons Art Center, New York City, on February 22nd and 23rd, 2019, sponsored by the New York Chinese Culture Salon. Performed by Ju-eh+Hwarg (creators), with lighting by François-Thibaut Pencenat. Video by Peichao Lin.

The Living Dying Opera is a hybrid multimedia operatic collaboration from countertenor Ju-eh (Juecheng Chen) and electronic composer Hwarg (Howie Kenty). Exploring questions of identity, the self, and the form and meaning of art, this unusual production stretches the limits of opera, theatre, popular music, and performance art.

This trailer is pulled from the hour-length performance, reviewed enthusiastically by New York Music Daily and Cut Common.

Performed at Stony Brook University, April 6th, 2017, by Howie Kenty (The Demagogue), Niloufar Nourbakhsh (The Hired), John Ling (The Latent), Joe Sferra (The Undecided), and Imoni Cole-Palmer (The Oppressed). Video by Adele Dusenbury.

While considering how to respond artistically to the political situation of 2017, I was asked to contribute to a performance/protest/party/ACLU fundraiser held the day before the presidential inauguration. This dystopian hellscape is the second iteration of the result, encompassing a lot of my feelings on the potentialities we approach with a leader who purposefully divides people, preaches dehumanization and fear, incites violence, disregards objective truth, and generally behaves like a bullying child.

As time passes and events transpire, I expect this piece will transform accordingly in further iterations.

Film and music created by Howie Kenty. Soundtrack performed by Elevator Rose: Joseph Fee (percussion), Vasudevan Panicker (piano), Elzbieta Polak (violin), and Frederick Trumpy (drumset), with Howie Kenty (electric bass).

In the Darkness draws equally from contemporary classical music, progressive rock, and film soundtracks. Weaving bits and pieces of mid-20th century public domain film footage into an entirely new abstract narrative, In the Darkness is a unique visual and audio experience that addresses issues of existential confusion, inner conflict and self-destructive behavior, sanity, perception of reality, and mortality. Watch the live premiere at the Music with a View festival here.

Soundtrack recorded at Queens College, Queens, NY. Recording, mixing, and editing by Howie Kenty. All source footage is in the public domain, available online in the Prelinger Archives.

Special thanks to Live Projectionist Eric Hertenstein.

Full score

Created and directed by Howie Kenty ("Whitney Eko"). Performed at the CUNY New Music Festival at the Baruch Performing Arts Center, May 1st, 2011, by the "Pan Global Piccolo Quintet:" Jeffrey Aldrich ("Raj Child"), Eric Hertenstein ("Rod Ethyl"), Abby Holland ("Boby Andhall"), and Susan Pickover ("Kosper Vicuñas"). Video created by Mike Hannon ("Han Manin-Cheol"). Also featuring auxiliary performers Becky Beahm, Brett Benge, David Claman, Kathryn Herskovits, Priya Ravishankar, Austin Shadduck, and Barrie Zipkin.

A Dubious Gamble deals with the difficulty of human communication abstractly, through vocal and physical performance, video, and electronic audio. Intentionally misleading program notes. Aberrant behavior. Audience members unexpectedly becoming performers. An indeterminate beginning and end. Confusion and unease in the audience. Confounded expectations, mirrors and exaggerations of the feelings inherent in the human experience of interaction with the outside world. Questions are posed, but the answers are unclear or scattered, and the questions themselves are always open to misinterpretation. The performers, video, and electronic audio stumble through and contribute to a world of mangled statements and obscured intentions, attempting to reach coherence together by any means possible, including music. See notes and bios of the fantastic people involved here.

A soundtrack summary of much of my contribution to the suite of music and sound for director Malin Palani's productions of Heiner Mueller's play Die Hamletmaschine, presented by the Xperimental Theatre Company at the University of Minnesota, Minneapolis (Nov 16-19, 2006) and by Twisted Roots at the Minnesota Fringe Festival (Aug 2-10, 2007). The piece alternates and integrates electronically-manipulated microtonal piano pieces with complex sonic environments, juxtaposing and blending humanistic and mechanical gestures, beauty and repulsiveness, death and life. Like the play, the piece follows a five movement structure, loosely mirroring the play's surreal, anguished, and sometimes violent turns:

Reviews were quite effusive: "...The lighting and sound designers deserve medals for providing brilliantly-conceived additional layers to the piece that make essential contributions, rather than just functioning as mood-enhancers, subservient and uninteresting padding to cover up staged inadequacies." More reviews

This complete soundtrack was presented at the International Computer Music Conference (Copenhagen, 2007). Mvmt III, "Scherzo; Dance." (6:50-13:10) received an Honorary Mention in the Digital Musics category at the Prix Ars Electronica international cyberarts competition (2008); "Astonishing poetic power" (Chen Qiangbin, CyberArts 2008 compendium).

Full Program Notes

Mvmt III: "Scherzo; Dance."
Score    Performance Notes    Max/MSP microtuner

For his strange and hypnotic theatrical piece Malte's Masks, my good friend Patrick Scheid asked me to create a soundscape to accompany him reading a section of Rainer Maria Rilke's The Notebooks of Malte Laurids Brigge concerning a neighbor's struggles with the nature of Time.

Patrick is one of my very favorite readers; genuine, humorous, excited, clever, and carefully-paced, he brings texts alive in ways that make a listener hearken closely, like a skilled storyteller of yore. In creating the soundscape, I asked him to give me a demo recording of himself reading the Rilke passage. Because the reading was just a draft, recorded hastily on a phone, with a few slip-ups, I hadn't considered posting it publicly along with the music.

But re-listening to it recently, I'm struck by how much I enjoy the two together, and have decided to share it; the little occasional word fumbles and smiles you can hear in Patrick's voice actually made me enjoy it all the more, as if he's immediately there. Rilke's text is absolutely mesmerizing, and Patrick's reading draws out the wonders of wandering its bizarre, half story/half stream-of-consciousness trails.

I've tried to do the same with my sonic contributions, blending new material, re-imaginings of some of my old material, and additional samples into a dreamy atmospheric meditation.

Malte's Masks was performed on September 25th, 2015, at Dixon Place Theater, New York.

The soundscape instrumental version is available for listening and download here.

Demo music and sound collage for the Deconstructive Theatre Project's production of Searching for Sebald, a multimedia theatrical tapestry exploring moments from the life of the author W.G. Sebald juxtaposed with the relationship of the performers to his hybrid novel-travelogue, The Rings of Saturn.

Composed by Howie Kenty, performed with Monika Haar (piano) and Adrianna Mateo (violin), (with additional piano, guitar, and percussion by Howie Kenty).

Filmmaker Mike Hannon asked me to score a video installation of his in which he shopped in simultaneous quintuplicate down five aisles of his local supermegagrocerymart. The garish colors and focus on consumption inspired me to create this soundscape collage from bits of old public domain audio and video soundtracks, my own field recordings, snippets of radio dialogue, instrumental recordings, and more. You can track certain sonic events that coordinate with the various iterations of each Mike's entrance, turnabout, and exit down the aisle, but it's also fun to just let the whole chaotic mélange wash over you.

Performed by Theresa Rosas (piano).

The truly fantastic Theresa and I recorded this demo whilst battling garbage trucks, boisterous pedestrians, and ambulances outside, and a heating system and a squeaky/noisy/occasionally pitchy piano inside, which all seems fairly appropriate, given the piece's subject matter.

Malfunctioning Devices is a series of miniatures, each of which represents objects, places, or situations in which something has gone awry. Meant to be self-contained but performed together, they are entitled as follows:

I. The Pressure's Off      II. The Oblong Wheel      III. The Untethered Dynamo
IV. The Factory      V. Cold Dirt Elevator

Each busted, cantankerous machine was constructed by freely reordering and mangling trichords created from vertical slices of parallel divergent chromatic wedges in a variation on a George Perle-inspired method, with each miniature focusing on a different set of source pitch classes, source intervals, and wedge direction (see the score for more explanation).

Score

Performed at LeFrak Hall at the Aaron Copland School of Music, May 9, 2013, by John A. Wolfe (organ).

This miniature was performed on the large wonderful pipe organ found in LeFrak Concert Hall; most of the unusual half-stopped pipe effects (and the unique tuning of the Vox Humana and Zimbel stops) would not be possible on other organs. Great credit goes to John Wolfe for making this rather simple piece into something suitably dark and strange.

Score

Performed at LeFrak Concert Hall at the Aaron Copland School of Music on March 12th, 2012, by Anthony Izzo (alto sax in E-flat).

Anthony did a really wonderful job with this short sax miniature, one of my own favorites. Incidentally, a number of the gestures here were cannibalized and developed further in the proggy soundtrack for my short film In the Darkness, which you can watch here.

Score

Performed at LeFrak Concert Hall at the Aaron Copland School of Music on November 15th, 2012, by Emily John (harp).

Here's an odd little miniature. The wonderful Emily John was a real pleasure to work with on this exploration in which I tried to get as chromatic on the harp as one can with few pedal changes. (Non-music-nerds, beware...) Using static pedal positions, this piece begins with two chromatic areas: A#, B, C, Db, and E, F, Gb, resulting in a pitch set (0123678) that seems to me almost blues-y, but functioning here in an entirely different manner.

Score

Can we change our own perspective such that what was initially displeasing becomes beautiful?

Coruscation and Dissolution explores tension between consonance and dissonance, harsh and shimmering textures, differing frequency of event occurrences, and varying levels of dynamics via juxtaposition and layering of diverse elements.

This one's a slow burner. Turn up the bass on some nice speakers and enjoy those old school-style synthy sounds...

Full Notes

Presented for live electronics and tape at the eXtensible Toy Piano Festival (XTP) (Clark University, 2005, and University of Albany, 2007).

Confustion (Denigrate) was composed using only toy piano samples as source material. For the XTP festival, organizers David Claman and Matt Malsky recorded samples of multiple toy pianos, including the complete range of keyboard notes at different velocities, as well as special effects such as tapping on the cases and glissandos on the piano strings themselves. I decided to mangle them entirely and create a densely layered abstract piece using the Max/MSP programming environment.

The processing within the Max/MSP patch allows for manipulation of audio via amplitude modulation, delay, and panning, and for recorded material, alteration of playback speed and direction. Loading in the recorded samples and controlling the MAX/MSP patch via an external MIDI controller gave me enormous flexibility in quickly producing complex sonic textures, which were then layered together, fed through additional processing, and sequenced in Cakewalk's SONAR. During live performance at the XTP Festivals, prerecorded material was played back while being simultaneously sampled and processed in realtime once more. Those wishing to muck about can download the Max/MSP patch below (and feel free to contact me with questions).

Spectrogram       Program notes       Max/MSP patch      

Definitively electronic, but strangely organic, almost arachnoid: furtive, surprising, and dangerous. (And as my good friend Mike Hannon pointed out, it also sounds like an epic toothbrushing session followed by an alien space battle, which I really can't deny, so that's fine too.)

All sounds were made using physical modeling instruments in CSound. Presented at the International Computer Music Conference (Tulane University, 2006).

Spectrogram       Program notes

“Electronic Voice Phenomena (EVP) can be defined as voices or sounds detected in recorded media that are unexplained by known physical principles." (From the CD liner notes by James Bohn.) Featured on the compilation "Clairaudience: New Music from Electronic Voice Phenomena" (Bohn Media, 2007) and presented as part of the "Clairaudience" project at Rhode Island College (2008).

Many thanks go to composer James Bohn for putting the project together.

Program notes

An evolving cycle of day to night and back again. It had just rained. The sky lightened perceptibly as it became morning, and everything came alive with a dull roar. Is there someone in the room, or not? Don't fool yourself; nothing lasts this long. It rains. As always, it ends to begin.

Your Very Own Magic Face! is a mini-EP of short crazy pieces created a number of years ago. Each was made using only a Soundblaster card and a bit of audio processing. There was no thought to their ever being released, as they were only the byproducts of the software bug-finding process. Having rediscovered them, these few delighted me, and seemed to belong together. They're really just bonkers, and it would be a shame to leave such hilarity unreleased.

Television program; music contributor. Premiered on PBS. Produced by Partisan Pictures and Thirteen/WNET New York. Winner of a Peabody Award, and narrated by F. Murray Abraham.

"In the winter of 2006, a strange phenomenon fell upon honeybee hives across the country. Without a trace, millions of bees vanished from their hives. A precious pollinator of fruits and vegetables, the disappearing bees left billions of dollars of crops at risk and threatened our food supply. The epidemic set researchers scrambling to discover why honeybees were dying in record numbers — and to stop the epidemic in its tracks before it spread further.

Silence of the Bees is the first in-depth look at the search to uncover what is killing the honeybee. The filmmakers of Bees take viewers around the world to the sites of fallen hives, to high-tech labs, where scientists race to uncover clues, and even deep inside honeybee colonies. Silence of the Bees is the story of a riveting, ongoing investigation to save honeybees from dying out. The film goes beyond the unsolved mystery to tell the story of the honeybee itself, its invaluable impact on our diets and takes a look at what’s at stake if honeybees disappear. Silence of the Bees explores the complex world of the honeybee in crisis and instills in viewers a sense of urgency to learn ways to help these extraordinary animals."

Documentary Website

Television program; music contributor. Premiered on the National Geographic Channel. Produced by Partisan Pictures.

"Napoleon Bonaparte's astonishing rise to power made him an absolute ruler unmatched since the days of the Roman Caesars. But by 1814, an alliance of implacable enemies had conquered the ''Corsican ogre'' and banished him to the tiny island prison of Elba. Napoleon, however, was anything but defeated. Through cutting-edge imagery and powerful dramatic recreations, plunge into the chaos of 19th-century warfare and political intrigue as Napoleon mounts his last, whirlwind campaign. And witness the epic, history-changing battle that would bring a cataclysmic end to his dream of ruling the world."

Full program       DVD

Television program; music contributor. Premiered on the History Channel. Produced by Partisan Pictures.

"The dark and dangerous world of cults has long been a source of both fascination and fear. What attracts followers to cults and, more importantly, what makes them stay? In this special feature-length documentary, journey behind closed doors into a secret world where faith and devotion give way to desperation and despair.

From the bizarre prophecies of Charles Manson to the desperate paranoia of Jim Jones, cult leaders draw followers into worlds of power, obsession, and sometimes death. Hear from parents who have lost their children to cults and travel back in time to examine how cults have been attracting devotees throughout history.

Featuring archival footage and interviews with renowned scholars, survivors, and faithful adherents, CULTS: DANGEROUS DEVOTION is an eye-opening examination of a hidden world few people will ever see."

Full program       DVD

DVD video; music contributor. Heavy remix of Verdi's Requiem for motocross video introduction. Video from the No Fear MX DVD produced by The Projects.

"Follow Ricky Carmichael as he sweats and fights his way through yet another perfect season. Cross the nation with the most spectacular young racer on the globe, James Stewart, as he thrills the tens of thousands of fans who came out to watch him all summer long. The dust may have settled and the #1 plates have been handed out, but T.G.O. 2004 takes you right back to the races with all the exciting sites and sounds of AMA Motocross."

DVD      

Promotional video; music composer. Music for online promotional video for Emmy Award-winning music software company iZotope's metering software product, Insight.

"Introducing iZotope's Insight, the essential metering suite for post production and broadcast applications. Review all the new features of Insight in this overview video.

Insight provides a full suite of audio analysis and metering tools, perfect for visualizing changes made during the mixing and mastering process, troubleshooting problematic mixes, and ensuring compliance with broadcast loudness standards.

Fully customizable and scalable, Insight allows you to visually monitor all relevant information from your mix in a convenient floating window. Insight utilizes Open GL to allow you more processing power for your audio."

iZotope product page

Video logo; music and sound composer. Music and sound design for Northeastern University promotional material video logo. Animation by Edwin Andrews.

University website

Online interactive features; music and sound composer. Music and sound for the New England Aquarium's educational features Jellytown, Life Cycles, and Blobs of Goo. Graphics and games by Metaversal Studios.

Online game; music contributor. Disco theme music for Level 2. Game by Metaversal Studios.

Original film soundtrack; music composer. Independent short film written, directed, and produced by Sarah Autumn Feeley.

Original film soundtrack; music composer. Independent short film written, directed, and produced by Sarah Autumn Feeley.