I’ve been recording and sampling since the days before Kontakt and yes even Gigastudio. My first sampling foray was recording directly into the Roland S-760 samplers. Back then those machines had a massive memory of 32 megabytes. Yes, you read that right. 32 megabytes. Not gigabytes.

Hey there, fellow composers & musicmakers! I'm excited to chat with you about my latest musical exploration, "Ghost Ukelin." This project has been a wild ride, and I can't wait to share the journey with you.

How do I write this Superhero demo that is asking for cinematic action music but they DON’T want it to sound like traditional Marvel, etc scores?

How often does this happen to a composer where they are asked the impossible. Write superhero music that doesn’t sound like superhero music.

With the release of our third - count em - third library I thought it would be fun to reflect on this road trip of sorts and also on how Roadtrip Percussion came to be a library.

As a composer who loves sounds I have always had my ears open and listening when am out and about in the world. You NEVER know when you will encounter an amazing percussion or tonal sound.

I want to share my personal journey with you—a journey that took me from composing music for film, TV, and games to starting my own sample library company, Triumph Audio. Through this blog post & future ones, I hope to pass on some valuable lessons I've learned along the way.

I am a firm believer in happy accidents and using chance in music. If you think about it, composers, producers and musicians make thousands of tiny decisions every day as they create, produce and play. These tiny decisions become a whole product and this whole product is what we are judged on.