I've spent more than 20 years mixing and sound designing projects for agencies, brands, filmmakers and producers.
Every project is a little different. Some come to me needing a great mix. Others need an entire world of sound built from scratch. And sometimes the job is figuring out what's missing, solving problems along the way, and making everything work together the way it should.
I enjoy all of it.
For me, the goal has always been pretty simple: do great work, be someone clients can rely on, and make the process enjoyable for everyone involved.
I've always enjoyed the technical and creative side of audio, but a big part of why I still love doing this after all these years is the people I get to work with.
I like to laugh. I like getting to know the people I'm working with. And I genuinely enjoy taking something apart, figuring out what it needs, and building it into something better.
I don't want a mix session or VO record to feel stiff or stressful. I'd rather create an environment where people are comfortable throwing out ideas, asking questions and trying something different.
Sometimes my job is to bring a creative idea to the table. Sometimes it's to solve a problem quietly and keep things moving. And sometimes it's simply knowing when the project is already working and not getting in its way.
For me, great work and a great working experience go hand in hand.
My career in audio started with a simple goal: learn everything I could about the craft and find a way to make a living doing it.
After studying television production and digital media, I attended Full Sail University to immerse myself in professional audio. From there, I headed back to California and did what aspiring engineers did before LinkedIn made introductions easy—I drove around with printed MapQuest directions, walked into studios, introduced myself and asked for an opportunity.
One of those opportunities eventually led me to P.O.P. Sound in Santa Monica, one of Los Angeles' premier commercial audio-post facilities. What started in transfer and duplication became an assistant mixer position, and eventually a career spent mixing and sound designing work for agencies, brands, filmmakers and producers.
Over the next two decades I worked inside seven audio-post facilities, learning not only the technical side of the business, but something equally important: how to work with people.
Eventually I took everything I'd learned and built an independent career around it, which became Bozz1 Sound.
For Pepsi's first Mist Twist campaign, finding the right sounds meant making them. I got into the booth and recorded custom Foley, cutting and squeezing fresh fruit, cracking open cans and capturing carbonation up close.
Those recordings became the raw materials for building the spot from the smallest details up and giving the product a physical presence through sound.
Sometimes the right sound is already sitting in a library. Other times, you have to grab a microphone and make it yourself.
The film arrived without production audio, so every sound in the finished piece had to be created. More than 50 sound effects tracks were used to build the environments, movement and small details that bring the Alps to life.
This piece arrived without finished sound, which meant building the sonic world from the ground up while still letting the edit and music drive the promo.
Approximately 45 minutes of cinematic cutscenes were mixed in 5.1, bringing dialogue, music and the game's detailed sound design together for the finished cinematics.
Sound design and 5.1 mixing for a narrative short that called for a detailed, cinematic soundtrack while keeping the performances and story at the center of the mix.
A project where the mix itself is the part I'm particularly proud of, balancing the motorcycle, environments, music and energy of the edit while keeping the whole thing cohesive.
I've had the opportunity to work on several projects for Team Rubicon. Their stories and mission make the work especially meaningful, and my role has included both sound design and 5.1 mixing.
Over the years, projects I've worked on have been recognized by organizations across advertising, film, television and game audio. I'm proud of the awards, but even more proud of the work and collaborations that led to them.
Stereo · 5.1 Surround · Binaural · Ambisonic
Re-recording Mixing · Sound Design · Dialogue Editing · Music Editing
VO Recording · Source-Connect
Broadcast · Radio · CTV · Web · YouTube · Instagram · TikTok · Film Festival · Feature Film · Video Games