Even at his young age Bobby has years of experience professionally performing and producing at the highest levels in multiple styles of music. For years he played with the world famous DJ Skee’s Skeetox band, currently plays organ for the San Diego Padres, and has performed with Ice Cube, Jesse McCartney, Xzibit, Lil’ John, Snoop Dogg, Warren G, Bobby Brown, The Glenn Miller big band and the Tom Kubis Big Band at Goldenwest. Bobby plays in San Diego's premier corporate top 40 band, The Mighty Untouchables, in addition to several original projects including Tiffy Jane and the Kicks as well as his own jazz piano and organ combos. He's also a founding member of 'Western Standard Time', an 18 piece ensemble that plays the traditional ska of the Skatalites with big band arrangements.

Bobby is also an accomplished composer and producer. His music can be heard through multiple outlets including television, movies, terrestrial, streaming and satellite radio, and video games. He also maintains an active roster of students, teaching a wide range of styles to students of all ages and walks of life.

Since 2010 he has lived in the University Heights area of San Diego, although he continues to work extensively in Hollywood and all of Southern California. He has a passion for moving others through his music, whether it be through performing, teaching or composing.

Case In Point

I wrote this cue this afternoon. It’s in a style called ‘Dramedy’, and this isn’t the final mix. With a good amount of luck, I might be able to get some of this in a big show. Can’t say more at the moment. Anyway this cue is probably 80% finished. The percussion needs groovifying, some stuff needs gentle quantization, and there’s just more work to be done. But you get the idea.

For this song I had to launch a couple instances of Kontakt for the violins and cellos, and as the project stands, it’s pretty much maxing out my processing power.

CPU's peaking!

If I wanted to and anything else to this project, I really wouldn’t be able to without freezing some tracks or bouncing some down, which is possible but then makes editing the frozen tracks a big pain.

Captain, we need more power!



Computers are expensive.

Can't live without it

But in order to run lots of tracks and plug ins, you need one with serious processing and RAM capabilities. If you’re running Logic, that has to be the mac pro (above). It’s the only way to go. It costs $3,000 though. Three grr!

All the music I’ve made up to this point has been on my Macbook, which was lovingly given to me as a starter computer for pursing music on the computer, and this little workhorse has earned its keep.


This computer is about 2 and 1/2 years old, which may seem young. But this isn’t an apples to apples comparison. Even a brand new macbook isn’t equipped to handle heavy audio production. Dual Core processing with 2GB of RAM just isn’t enough if you want to go deeper. I have scraped by with workarounds and eschewing heavily sample laden stuff until now, but if I want to start doing a little bit of scoring, then I’m going to have to take the plunge. It should be a glorious, liberating plunge. But I don’t want to go in the hole for $4,000, so I have to find the money somehow. And I’m moving into uncertain circumstances in San Diego in the near future. $4,000, I thought you said $3,000? Well I need a better sample library as well, and probably a UAD card also.

People that I talk to doing what I do scratch their heads in amazement over the fact that I’m doing all of my work on an old Macbook. It’s been great. but I may have to pull the trigger very soon on something mightier. Especially if a promising lead with an old friend with great industry connections pans out…


The Fruits of This Week

After yesterday I was ready to set my piano on fire because nothing seemed to be going terribly well. Then when I came home and tried to frantically mix the stuff in 30 min as well as taking my roommate to the airport, the results went from bad to worse. There were a handful of notes that just dominated the whole sound in the bass, and they were messing everything up. And yet I had to submit it by noon, so I didn’t really have time to zero in and salvage it much. I faced all sorts of creative decisions that needed to be made quickly: do I compress it? If so, how much? how much reverb is good? Do I limit it to push the volume? how much of the ambient mic do I bring it? How should I EQ these 3 mics? Boring but crucial questions. So when I gave the songs a last pass right before rushing off to work, they seemed harsh, brittle and yet boomy; all horrible adjectives for music.

So I gave them another listen this morning and it turns out, they are not that horrible. They are not that great either, but I think these songs may make the mark for ‘inspirational songs’. If it seems like there isn’t enough development and they are boring pieces, that’s kind of the point. Picture these as a background during some montage about social anxiety disorder medication.

(P.S., I know the second one sounds kind of like ‘Firm Foundation’ that old CCM song. Well, it happens)

And here is the Dancehall track I was working on Monday. I think it’s okay, but for some reason the bass isn’t pumping like I thought it would. I need to take a look at my subwoofer.


Battling a Piano All Morning

That’s what I’ve been doing as I recorded all these supposedly easy ‘Inspirational Solo Piano’ pieces. But all it did was show how shot my technique is. It may not be hard to play a 4 note ostinato over and over, but it may be a REAL challenge to do it with the right balance and so that it doesn’t rush at all. Man there is so much to playing this instrument. Even in the simplest song there is so much control you need to exert over the piano, it’s humbling, sobering, frustrating. It can ruin your week, especially if you don’t have a lot of time to actually record and you’re under the gun. And as I write this, I’m out of time again and have to RUSH off to work. Having to hurry to finish up what you’re trying to do to run off to work is the ultimate buzz kill. Not to knock anyone at work, but nobody at work cares or really knows about what I’m trying to do in the hours I’m not at work. They don’t understand that you had to wait for your tracks to bounce down and upload or you had to take your roommate to the airport, or that you’re rushing home to work on music until the second you have to come back again the next day. I wouldn’t expect it any other way, that’s the way it is in life: you handle your business and don’t bring baggage into the work place if you can help it. You show up to work and do a good job at work and apply your mind there. I just wish the music WAS my full time work.


CLICK HERE for a full calendar of upcoming live dates


-Had music placed on the new show 'Donnie Loves Jenny' on A&E at the beginning of 2015

-Check out my recent blogpost about placements in 2014

-2013/2014: Had a prominent placement in 'Thor 2: The Dark World'. My cue is in a restaurant scene for over a minute.

-Had music placed on the Sundance Channel at the end of 2013 in 'All On The Line With Joe Zee'

-My music is featured on DJ SKEE's show SKEELIVE on AXS TV throughout 2013 and 2014

-I have multiple hip hop cues on 'Rob's Fantasy Factory' seasons 3-6 airing on MTV continuously.

-I have music on a new show on TLC called 'Best Funerals'. (say what!?) airing in late 2013 / early 2014. The show will feature a handful of gospel cues that I wrote.

-I placed a Dramedy Cue called 'Sneaky Groover' in the season premiere of 'World Of Jenks' on MTV in the Spring of 2013.