My project studio includes six custom PCs and two Macs loaded with the latest in orchestral and synth libraries, samplers and mix gear, which allows me the capability of delivering finished soundtracks or preview mockups for projects ultimately scored with live musicians.

Beyond the gear, I have a piano, toy piano, guitars and an assortment of ethnic instruments and percussion around the studio for inspiration.

I add something new for each project I'm scoring.

I can digitize time-code work prints in the studio, or you can send me a Quicktime file of the project. Preview cues and the score can be delivered via a secure FTP site, iDisk or your server. Messenger services and FedEx are available.

When the budget doesn't allow for recording a live orchestra on a stage, I sweeten sample orchestra tracks by bringing in live players to my studio.

Recording areas include a live room with piano and space for up to six players at a time. For recording percussion or harp, I travel to the player's studio or a stage.

Four go-bos (moveable walls) create the right space for players or vocalists and cut down on reflections with nonparallel walls. Depending on the desired sound for the recording, I can choose a reflective surface or an absorptive one. The studio has movable bass traps and a range of mics and pre-amps. A recording engineer and additional recording equipment are available for in-house recording dates.

Based in Los Angeles, my project studio - Back Pocket Studio - provides filmmakers a comfortable, professional working environment with wireless access and a lounge and tree-lined patio to enjoy during breaks.

The commercial area adjacent to the studio has business services and restaurants. There is free, abundant parking and convenient access to westside production facilities, recording studios and expressways.

I've spent the last five years scoring network television and animated series as well as overlapping film projects. From the experience, I'm confident in my ability to deliver weekly episodes of orchestral-based underscore and manage the day-in/day out post-production schedule of overlapping projects. With film projects, I've learned how to deliver a score that works with the filmmaker's vision, stays on budget and on time and to make sure the producers and director are pleased with the entire process.

One of the best parts of working in Chris Beck's studio before going off on my own was to watch him go through this scoring process on big-budget projects and indies. From spotting the film and discussing the role of the music, to scoring the film and keeping on top of which cues are signed-off on and which need re-writes, to assembling and managing a team for the recording sessions, to keeping the session dates on budget. There's a lot more to scoring than writing the music. And now I'm able to apply that experience and knowledge to my own projects.

Send me an email for more information about my studio, recording capabilities and schedule at dr at douglasromayne.com