20 years. A record that gets younger while the rest of us get older.

For filmmakers and other prospective clients, this is a portion of a sizzle reel that demonstrates my experience and skill in all aspects of sound design, and some scoring, too.

For a downloadable version with higher screen res and audio definition, email laminalaudio, at gmail. Thx for watching.

Responding to a recent request, I’ve put together an audio sizzle reel of some mastering projects, specifically aimed at past and potential filmmaking clients. Hard to believe sometimes that I’ve been able to do this kind of work.

www.mixcloud.com/vultureindus...

Screening in 35mm with an opening set from
@aarondilloway.bsky.social
for fucks sake. Dilloway only recently talked to the NYT about the timelessness of the score. That article is linked below.

Susan, who had the nerve and audacity to take the music of Messiaen to the steel guitar. She’d drive the Texas backroads in the dead of night, to the next C/W gig. A compassionate observer of the world, empathy for those who’d judge her. Can we be this lucky to have traveled even a moment with her?

The newly published collected works from Delmore is filled with traps. These are so good.

Morning dive involved listening to Tony Oxley’s brushwork on a slightly subdued “Someday My Prince Will Come”. You won’t find yourself in many convos in the US surrounding Tubby Hayes and his groups. We are absolutely asleep over here on the subject of British jazz. It’s always been that way.

If it weren’t real, a pairing that eventually comes to you in a dream.

Herb Robertson, Vancouver BC, 6/24/2001. Johannes Bauer is in the background.

Thanks to Peter Margasak for the thoughtful words about 'a clearing', to Sam Dunscombe for her signature flair in engineering, and most of all, congrats to Joe Houston and Sarah Saviet for these accolades on the debut album of their project, Saviet/Houston Duo.

If the songcrafting palettes of Air Supply and Suicide were to merge.