How I Got into Music

Technically, my first sequencer was Mario Paint.

I grew up playing drums and raiding my dad’s CD collection (Green Day, RHCP, Soundgarden, Dave Matthews), making mixtapes on cassette, recording my friend’s bands, and making beats in FL Studio.

But my love for electronic music?

That started with Guitar Hero. Kinda.

Back in the PlayStation 2 days, gaming magazines included demo discs, and that’s how I discovered Frequency — the precursor to Guitar Hero, made by the same team. That game introduced me to early pioneers of electronic music like BT, Paul Oakenfold and Crystal Method.

I was instantly hooked.

This was before electronic music — or even iTunes — was a thing in the U.S. So I’d spend hours on TheMixingBowl downloading rips of BBC Radio 1 Essential Mix sets just to find new music. I also became obsessed with Ninja Tune Records and collected their entire catalogue.

Fast forward, I went to Berklee College of Music on a merit scholarship. I landed a job working on video games­­ that were just like Guitar Hero, which was a full-circle moment. But as much as I loved it, I knew that if I wanted to write music, I had to be where the action was. So I shipped off to LA.

There I began working with veteran film composer Jeff Rona, who later founded Wide Blue Sound with me, and the rest is history.

Highlight Reel

My music’s been featured on your iPhone (I can’t say which apps, because Apple…), in blockbuster films like Baywatch, in over 8,500 commercial and TV projects for hundreds of known networks, brands and shows (the Olympics, Game of Thrones, you name it), AAA games, trailers, and in stadium speakers between plays. Nearly 500 million plays on streaming services alone.