Audio Post

Division of Labor

When I started working in audio there was a stark division of labor. The composer was usually the producer, but not always. There were SFX people who weren't composers, and there were mixers who might do the SFX if it was a simple job, but their job was mostly to fix and enhance dialog. But mostly three camps - dialog, music and SFX. The nightmare was that the composer would write cool music for a certain scene, and the SFX person would do something equally interesting - and using both was too much. Somewhere in the 90s three planets aligned. Budgets got cut, the internet meant we could ftp sound files, and composers could add digital audio to their sequencers. That was nothing new to me since I had been using a Synclavier for eight years. But it was a paradigm shift in the way you could bid a job - you could bid for the music, the dialog editing and enhancement, and the SFX part of the gig.

That gradually evolved into me getting work as a mixer - doing dialog and SFX and adding my music, or somebody else's music. Here are some recent projects.

A Line In The Sand

Recently completed a mix for this one-hour documentary on the history of Tourmaline Surfing Park.

The Ride

Sound design and mix for Eric Addison's 8-minute story of a boy expanding his horizon.

IMDB Credits

Outdoor Channel

Mixed 30, 15 and 10 promo, teasers and trailers for several OC shows, including Alaska's Wild Gourmet.


Go Out In Violet Waters

Sound design and mix Windy Marshall's short film about survivor guilt.

IMDB Credits