The very first time I heard, "Celestial Soda Pop" by Ray Lynch, I was hooked on the deep "angelic" sound that was produced from synthesizers. I was taking piano classes and hated how hard music theory was for me. I wanted to play with the "sound computer", and turn knobs to listen to the crazy robot noises or the deep root-shaking synth basses. My parents did not really share my desire to be an electronic musican, so I would sneak away to Guitar Center, and play with the Oberheims, Yamahas, and Korgs, after school. I was always drawn to all things 80s. Although I loved 80's pop music, I was in more into the 80's video game and film music. My love for electronic dance music came later in the 90's, and I would search the local "Tower Records" for anything trance that I could find on vinyl or cd. My inspiration comes from growing up listening to Jean Michael Jarre, Vangelis, Ray Lynch, Jan Hammer, Modern Talking, and Depeche Mode. The uplifting euphoric side of the synth music I create called "Angelwave", comes from a mixture of those artists as well as composers like Robert Miles, Paul Van Dyke, Hans Zimmer, Thomas J, Curran, Dueter, Kintaro, and Kebu.

My most used kits for music production are Kontakt, Falcon by UVI, and Opus by EastWest Studios. Kontakt has such a huge library to choose from, especially from third-party studios that made incredible plugins. Opus gives me access to the massive ochestral libraries from creating fantasy soundtracks, tense epic choir scenes, or pleasant afternoon ambient fae garden melodies. Combining these with Falcon, gives me the edge to add all types of hybrid synth sounds into the mix. I also recently started using Soundpaint and love their synth collections that emulate classics like Juno 60, Jupiter 8, Waldorf and Super 6.

I use Kadence, Umbris, Lumen, Tureis, Arcturus Nova, and the Solos series weekly. Arcturus is one of favorite plugin for "epic ambient" cinematic scoring, along with Tureis which allows a very spacey soundscape atmosphere layer to the tracks. Kadence, Lumen, and Umbris are my meditation track favorites because I am able to really capture the beautiy of the female vocals while they ride almost "etherically" on each detuned sweeping saw chord layer. The ease of being able to transition into a soft (delayed vocal attack) to create ambient melodies from the chord layer, saves me so much music production time for delivering music files to my Spectra (TM) Sound Bath clients. Kompose Audio has made a huge difference in my life, from not just saving time from browsing through my Kontakt/EastWest libraries, but also inspiring new creativity. My next purchase will be Adrift, Glacium for Soundbox and Equuleus for Kontakt.