“Rob is a caring professional who is fast, efficient, and attentive. We contracted him for voice recording and audio work and his deliverable format and organization changed the way we think about our audio pipeline. It was a pleasure working with him, and I look forward to doing so again.”

Jon Meyers, CEO

“Rob’s compositions for the film “Our Mockingbird” and several American Experience films were exceptional. His musical skills are varied and many, and he is a pleasure to work with, often doing more than he’s asked, anticipating problems before they arise.”

John Kusiak, award winning composer of the Errol Morris film, Tabloid

“Rob’s work went above and beyond what we imagined, creating intricately detailed, responsive audio environments combining music, ambiance and sound effects to help create a realistic 18th century world. Rob is a hands-on, precision artist who knows what needs to happen for his creations to come to life”

Dan Silvers, CEO

“Rob was an outstanding member of the team as composer on “Follow” and “The History of Spectacle Island.” His creative innovation and knowledge of composition enabled him to hone in on the storytelling. He was a leader in taking responsibility to meet challenging deadlines and provided quality results under pressure.”

Elliot Higger, Filmmaker

Winter, 2016


Hoping everyone had a wonderful holiday, and that the New Year brings much joy and peace to you and your family. I released two new pieces at the end of the year, for two sides of the season – one reflective, one joyful.

“Grace” serendipitously developed into an unusual combination of instruments and styles. Ethno-musicologist Beth Bahia Cohen is featured, playing both the turkish yayli tambour and fiddle in a middle Beth Bahia Cohen on Yayli Tambureastern-style. The piece also features cellist Ashima Scripp as well as violins, african hand drums and loungy electronica. The piece originated with the opening melody and bass groove. As I added to it I wanted to contrast the static harmony of the opening section with progressively richer and brighter sonorities, maintaining a continuous lift. The title “Grace” is intended to evoke it’s meaning from the film The Tree of Life, described here by NPR’s Marco Gleiser:

“Grace here means generosity, forgiveness, a form of inner strength that can suffer all sorts of insults and still keep going, resolute and beatific. There are many ways of describing it, but all of them are anchored in our existence, in our humanity.”

“Toys,” also features Ashima, this time with a string quartet rounded out by violinists Omar Chen Güey and Olga Patramanskaya-Bell and violist Drew Ricciardo. I wrote this after hearing an interview in which Hollywood orchestrator/composer Conrad Pope discussed the importance of writing parts for musicians that they’ll find fun to play. So, as someone that does not Toysplay violin, viola or cello, I proceeded to write something that I would find fun to play – plucking lots of open strings and an occasional expressive but simple melody. Throw in some big snare and bass drums to beat and cymbals to smash, and voilà – the sound of musicians playing with their toys!

2 Responses

  1. tim j says:

    Great Rob. The tracks sound like what they are titled as. Grace should be expanded and looped ad used for yoga classes! There’s a whole market. With Toys I was hallucinating dancing elves. (don’t worry – it passed)

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