Producers today aren’t choosing between analog and digital—they’re blending them. By combining the warmth and character of analog with the precision of digital, modern music production finds a balance that feels both human and polished.

Hyped to share that a custom remix of Lucy Michelle’s “Somebody New,” created with Darby Phillips, was featured in a spot for Normal from Magnolia Pictures, with the official trailer earning recognition from Muse by CLIOs.

Breaking a track into stems unlocks endless creative flexibility. From syncing with film to remixing live, stems give creators the power to shape music around their vision instead of fitting their vision into one final mix.

Hyped to share that Darby Phillips and I remixed “I’m A Man,” which was featured in the Season 1 trailer for Young Sherlock. Always fun seeing a remix land in a campaign like this.

Our remix of A$AP Ferg’s “New Level” was featured across two connected clips promoting the upcoming film Marty Supreme.

Metadata might not be the most exciting part of music, but it’s one of the most important. From royalties to discoverability, clean metadata keeps songs connected to their creators and makes sure music finds the right audience.

Hyped to share that my track Invincible Teenager with Darby Phillips was featured in the trailer for People We Meet On Vacation. It’s a fun project to highlight and a nice moment to look back on.

Hyped to share that Jukebox, a track I worked on with Darby Phillips was featured in the trailer for Ready or Not 2. This sequel brings back the same wild energy that made the first film stand out.

Reference tracks can sharpen your mixing skills and keep your ears honest, but they’re not meant to be copied. Learn how to use them as a guide for clarity and balance while still protecting your originality.

Emotional intelligence often gets overlooked in music production, but it can be just as important as technical skills. From breaking through creative blocks to collaborating more effectively, understanding emotions helps producers create music that truly resonates.

My track "Don't Answer That Door" was featured in the spot for It Was Just An Accident, a grounded and suspenseful story built around a single moment that spirals into something much bigger.

Hyped to share that a handful of my tracks were featured in Faceoff: Inside the NHL. The series takes a grounded look at the league, the people behind it, and the rhythm of the season.

Music libraries do more than store tracks—they carefully curate catalogs to help creative directors find music that’s production-ready, trend-aware, and easy to search. Here’s a look inside the process and a real-world example of how thoughtful curation supports film, TV, and advertising projects.

Excited to share that my remix of EMF’s “Unbelievable” by was featured in the official trailer for The Family Plan 2 on Apple TV +, featuring custom Christmas elements by Darby Phillips!

Hyped to share that my track “Black Hole,” written with Darby Phillips, was featured in this spot for Psycho Killer! A dark, driving cue that fits right into the film’s suspenseful, slasher world.

Hybrid scores have become the defining sound of modern cinema. By blending orchestral tradition with electronic innovation, composers are shaping immersive, emotional soundscapes that connect with today’s audiences and elevate storytelling.

My track Heretic from the Mind Games album was featured in the trailer for Tron: Ares! Huge thanks to Disney for having us on this one.

Ghost Ship, a track I work on with Haukur Karlsson and sound design elements were featured in the trailer for Compulsion, a thriller filled with secrets, deception, and a deadly cover-up.

My track Spellbound was featured in this spot for Arte Promo, pairing a 2022 archive track with Italian films and international award-winners like Fallen Leaves and Stars at Noon.

Excited to share that my track United As One (Instrumental), co-written with Darby Phillips, is featured in the final trailer for Netflix’s America’s Team: The Gambler and His Cowboys.