This portfolio presents selected works from my career as a freelancer, staff composer at Noise Distillery/Clean Cuts, and independent artist. It is presented in three sections:

1. General Music Composition and Production for Media

2. Interactive and Adaptive Music Design and Implementation

3. Short Form and TV

I. GENERAL MUSIC COMPOSITION AND PRODUCTION FOR MEDIA

The playlist and videos below present selected compositions for film, games, television, and personal projects. Together they show a range of styles, production approaches, and scoring contexts from across my career.

The following were scores I composed for the Berlin International Film Competition from 2020-2022.

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II. ADAPTIVE AND INTERACTIVE MUSIC DESIGN AND IMPLEMENTATION

These are projects where I designed, composed, and implemented adaptive and interactive music for games using Wwise and Unity.

Wiggle Challenge.

Interactive score for a therapeutic game developed with the Johns Hopkins School of Medicine as part of the 2020 Discovery Awards:

https://research.jhu.edu/johns-hopkins-discovery-awards-2020-awardees/

The game is used to treat stroke victims who have lost some or all of their fine motor control. Patients use specially built controllers. Input from these controllers are directly mapped to a variety of music parameters inside of Wwise. The use of interactive music is being studied to determine if patient outcomes improve as a result of direct auditory feedback to their movement.

In order to create continuous tempo adjustment, music was implemented as MIDI inside of Wwise, which triggered virtual instruments built in the actor-mixer hierarchy from samples available through Creative Commons licensing.

To keep the memory footprint low, no dynamic layers were used. Instead note velocity and MIDI CC messages modulate the volume and filter cutoff using RTPCs.

As a Principal Investigator, I oversaw a team of 3 undergraduates who helped work on the project: Matthew Flynn, Naomi Biela, and Cade Mullen. Each contributed their own music for different levels/areas of the game using the principles described above.

Tetris

Using source code of the core game found on Github, I modified the game code to create a more immersive sonic experience using Wwise as the audio engine.

All sound is synced to the underlying musical grid: player actions and game events trigger musical SFX which combine with the backing music to create a tapestry of sounds. The background music is divided into 10 layers which are gradually added into the mix as the player approaches the level objective.

This project was designed for my Music for New Media 4 course in 2024.

Powers United:

Adaptive score in FMOD. Made for a playable demo of Marvel Powers United VR at Comic-Con. I was not the main composer on this project, and this level did not make it into the final game, though I did have additional music appear elsewhere. The goal with this was to create a "cinematic" experience, where the player felt a strong sense of progression and drama as they moved through the level. The music needed to feel like it could have been a linear film score. To accomplish this, I first wrote a musical suite that captured the narrative arc of the level, composing different sections for each distinct part of the mission

When the dev team signed off on this, the next task was to explode that suite into over 100 individual assets that would be re-assembled on the fly by the game engine. For each section of the music, I created alternate versions of the various building blocks that formed the piece. So we had alternative melodies, rhythms, bass lines, and accompaniment patterns. The goal with this was to make sure that no one section of the level would become too boring or fatiguing if the player heard the same music over and over again. So the 2.5 minute suite became something that could easily cover 20-30 minutes of gameplay without ever repeating the same exact thing. I also spent a lot time crafting transitions that would seamlessly connect each section -- making sure they would work no matter where in the music you were.

Cube

Re-score using Wwise. This is based on Audiokinetic's Wwise 201 materials and is used as an example project in my courses at Peabody.

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III. SHORT FORM AND TV

These are some examples of music I have composed for short form content and television.

Musicwood: This is the opening title sequence for the documentary film by Helpman Productions.
Yellowstone: One of my cues from Discovery Channel's, Yellowstone: Battle for Life. We received an Emmy nomination (news and documentary) for the music.
Android and the Staircase: a web PSA for House Cat productions.
Paper Thin: a cheeky holiday promo for White64.
Red Sox Open: Opening theme music for NESN broadcasts from 2013-2019.
CFL Friday Night Football on TSN Open: Canada's equivalent to Sunday or Monday Night Football, this has been their theme since the 2025 season.