INTRODUCTION
I left off in "The Man Behind The Curtain" with plugging my guitar into the computer and making my own music without the need of a band. This was of course for practice in which I had hoped would land me a second band that actually got along. Instead, it landed me the soundtrack position in college once I discovered orion software.

I searched long and hard online and on a disc burnt for my friend Will by Luke (who helped with Project Warlock's hell theme and main theme) and earlier in life discovered exactly what I was looking for. I wanted a nintendo-esque sound and I wanted to paint notes. My other option was MilkyTracks but I stuck with Orion because it wasn't solely nintendo sounding. Being able to program synths without really playing them live left a huge opening for creativity and in my early days of using this I made some pretty "mozart" sounding goods. (See: The Struggle, Reprise). In 2006 I had a lot of stuff. I had just finished continuum and my earliest ideas for "Noisebox" started back then. I wanted to take my favorites of everything and create a 6CD set, all on one disc as MP3s and sell it or give it away to friends. It's 2018, and I still haven't done this the way I had wanted. So let's get to the history itself...

THE VERY HISTORY OF ME AND COMPUTER MUSIC
In 1999, I bought a Yamaha PSR220 Keyboard. If you really want to know what all went down this year, see Cherry Rounders under the "Weird" tab. Other than that, in 2000 it all began. I bought ACID Style Rock 2.0 from Best Buy and then later got ACID PRO 3.0 from ebay and copied my friend Will's ACID 5.0 even later than that. Learning that on 5.0 you had to zoom heavily to "fix" its screw-ups, I torrented ACID 4.0 for both Will and I.

I started buying $50 loops libraries left and right when I was working at the USPS the first time, and started creating remixes for a very hated rap duo called Insane Clown Posse. Yep, I know, but the beats were so basic and the music really had nothing to it so I could add heavily and chop it up to create new songs. I had no sources for the songs so I'd just overlay things.

Then in March of 2000 (yeah I did 27 remixes in less than three months!) I decided it was time to begin work on my own stuff. I didn't learn yet that I could plug my guitar amp directly into the computer and start away, so instead of possibly blowing up my computer, I just laid down loops. Once I had laid down the loops, however, I split them into tiny bits and rearranged the drums, changed the pitches of the sound effects and melodies, and basically created all my own work out of stock that sounded completely different after I got ahold of it. These became the first ten tracks of Makina.

ANAMORPHOSIS AND PHENOMALY
After plugging in my guitar, I made old and new songs. The old ones were from that high school band that had just ended, and the new ones were experimental ones that later made up the guitar tracks of Makina, Anamorphosis, and finally Phenomaly. They were definitely all weird but there were some pretty descent songs in there minus any singing or lyrics. Lyrics were written for some, even recorded for others, but in the end, no lyrics exist.

I finished off six tracks then added a ton more for the original Phenomaly in 2004 in the middle of attending college for multimedia. I then created a blackjack soundtrack for a class project in 2005 which made it to the final draft of Phenomaly as well as some soundtrack stuff I started in 2002 that ended up having 45 tracks but wasn't used, and isn't for the most part available yet in bandcamp or on this website. It may not ever be.

Then the time called for more "macromedia flash" style "nintendo" music. I was lost in what I could do, then discovered Orion software by Synapse Audio. It's now defunct in 2018 and has been for a couple of years, but I still use it to this day. In fact, it was defunct right after I bought it and paid the $250 to get the full version. I would say with all the work I cranked out of it, it was well worth it.

MODERN DAY MUSIC MAKING
If there is one collection or album I would say to steer away from if you're just now getting here, that would be Armageddon. Sure there are some fun tracks and some dark ones, but its original housing was the first 8 tracks, the very last track, and all the outtakes from Project Warlock. Since they want those, and I want them to have those to help sell the soundtrack for the publishers, I took some outtakes from the 2017-2018 era along with a lot of new ideas and half-assed a new recording session that took about 2 weeks plus the already-created tracks in 2017. I didn't even finish the tributes to "Section Z" or "Fraggle Rock" and just left them as goofy little tribute tracks that played briefly and didn't cover the whole originals.

But as I mentioned already a few times on this website, I did the soundtrack for Project Warlock!! I was discovered around July 2017 when the original musician bailed on the job duty of 62 tracks and I made 100. Iain Lockhart is solely responsible for finding me, from a doom group he had created called Team Erebus that never ended in us doing anything, since he was offered level design position for Buckshot Software. Now I'm in! I am doing what I wanted to do with my life and my dream has come true. Although this fall I will be working again at the USPS which will consume most of my time, I'm still an independant video game soundtrack musician and always will be! If my duty calls again, I'm all ears. Now that my name is out there, hopefully more job offers will happen from now on. If you're making a game and need some old or new stock, just ask! I work for a percentage now. Make me up a contract! You can also contact Luke who did the main theme with me, and half of the hell theme for Project Warlock.