Aaron Drake
Audio
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audio filePlum
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audio fileGenesis: Suite
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audio fileGodfather's of Hardcore Main Title
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audio fileThree Minutes - from XOXO the Netflix Original Film
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audio fileStep In Time - from the Feature Documentary California Typewriter
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audio fileCumbia
- Show All 6 Files
Credits
Year | Job Title Project Type |
Project Name Director / Company |
Location |
---|---|---|---|
2018 |
Compose, Music Supervison
Commercials & Industrials |
Watch Me Work | WNBA John Suits / The Marketing Arm |
|
2018 |
Composer, sound designer, RE-recording mixer
Commercials & Industrials |
Energy Upgrade California Damien Toogood / Alt.VFX |
|
2017 |
Composer
Television |
The Godfathers of Hardcore Ian McFarland / Showtime |
|
2017 |
Composer
Television |
California Typewriter Doug Nichols / Gravitas, American Buffalo Pictures |
|
2017 |
Composer
Television |
The Rise and Fall of the Brown Buffalo Phillip Rodriguez / PBS |
|
2017 |
Composer
Television |
Business Doing Pleasure Andy Schwartz / TBS |
|
2017 |
Composer
Film |
Smothered by Mothers Brian Herzlinger / Weichert Media |
|
2016 |
Composer
Commercials & Industrials |
Nintendo 3GS Pokémon Nick Lines / Leo Burnett |
|
2016 |
Composer, sound design
Commercials & Industrials |
Kirby Planet Robobot Nick Lines / The Mill |
|
2016 |
Compoer
Film |
XOXO Christopher Louie / NETFLIX |
|
2015 |
Composer
Film |
Bad Blood Adam Silver / Lifetime |
|
2014 |
Composer
Film |
Don Peyote Dan Fogler / XLerator |
Education
Year | Qualification | Where |
---|---|---|
2006 | Masters of Music | CalArts |
Equipment
My Equipment/Kit: 2 API 512c Preamps, 2 DaKing VCA Compressors, 2 Neve Channel Strips, 4 Shure Beta 98, Adobe Creative Cloud (active), AKG 414, Altiverb 7, American Standard Fender Telecaster, Arturia Keylab 49, Arturia V Collection 5, Auto-tune Native 8, East West Pianos Platinum, East West Symphonic Orchestra Gold, Fender 73 American P-bass, Genelec 6010a 5.1, ilio Instruments Ivory Italian Grands, ilio Instruments Ivory Uprights, iZotope Rx5, iZotope Stutter Edit, iZotope Trash, Kurzweil K2600xs, Logic Pro, MCI JH 24 2" Mastering 24 track reel to reel, Neuman TLM103, ProTools HD, PRS Artist Series, RMS Folcrom Analog Summing Mixer, Sennheiser Mkh 416, Speakerphone, UA Apollo Quad
I can use: East West Pianos Platinum, Rms Folcrom Analog Summing Mixer, American Standard Fender Telecaster, Prs Artist Series, Fender 73 American P-Bass, Neuman Tlm103, 4 Shure Beta 98, Adobe Creative Cloud (Active), Arturia V Collection 5, Ua Apollo Quad, Izotope Trash, Izotope Stutter Edit, Auto-Tune Native 8, Speakerphone, Ilio Instruments Ivory Italian Grands, Ilio Instruments Ivory Uprights, Mci Jh 24 2" Mastering 24 Track Reel To Reel, East West Symphonic Orchestra Gold, Logic Pro, Sennheiser Mkh 416, Protools HD, Akg 414, Arturia Keylab 49, Izotope Rx5, Altiverb 7, 2 Neve Channel Strips, 2 Api 512C Preamps, Genelec 6010A 5.1, Kurzweil K2600Xs, 2 Daking Vca Compressors
About me
Aaron Drake classically trained as a pianist from age 5 and competitively performed between ages 8 and 15 throughout the West Coast (US and Canada). Drake studied composition and Complexist Music at San Fran- cisco State University under Josh Levine and Ron Caltabiano. He earned his first public commission from the West Coast Ensemble at 19.Drake completed his undergraduate degree at the Hochschule für Musik in Trossingen with advanced compositional studies under Frank Cox and Mark Randall-Osborne at Schloss Soli- tude in Stuttgart.
Aaron returned to the states and studied at CalArts with James Tenney (microtonal music) and Morton Subot- nick (computer and electronic music). The studies at CalArts pushed him to conceptualize music beyond the intricacies of advanced music theory which lead to his first film collaborations.
The score to his first film, “The Shadow Effect,” won a Bronze Medal at Park City Music Festival and since then he’s scored multiple features and documentaries, music for Emmy Award winning TV shows like How I Met Your Mother and Henry Ford’s Innovation Nation, numbers of advertisements (Nintendo, Nike, Garnier, EA Sports, Gillette etc.), while continuing to write experimental music for live performance and dance. His work has been performed or displayed at many national and international venues such as ICA, ZKM, LACMA, MOCA, REDCAT, OCMA and the Hammer Museum.
Additional information:
To a fault, I hold process and concept in the highest regard (right under the Director’s vision). Stemming from my education and training, I create music which satisfies the immediate visceral and emotional needs of a scene, but also has a sort of Adornian Ethic. I love creating strong meta narratives, distilling social relatonships and sonifying the characteristics of each. For instance, I love the part of the fable when you get to the moral. Not because I’m smugly moralistic, but because how ‘the reveal’ colors your memory of the imagined story. I think a good score, like a well-crafted film, reveals itself over time. That each time you hear/watch it, something else colors your experience and imagination. That’s why I’m fascinated by things like aural mnemonics, EVP and sonic masking, codes and cyphers, historical trends and social tendencies.
Skills
Secondary Job Title | Music Supervisor |
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Job Titles | Sound Designer, Music Director, Composer, Sound Editor |
Years in industry | 6+ years |