Alt Demo Reel

This features some of my commercial work as well as a couple short films I’ve contributed to. Firms I’ve worked with include: Lyon Films, Funnelbox Production Studios, Allied Video Productions, and Thunderfuel Interactive. Intended audience is always at the forefront of my consciousness when designing for corporate work. Advertising has always been about reinvention, but that cycle between branding and reinvention has tightened significantly in the digital age. I am deadline-oriented and centered on directors’ visions for their particular project.


Gallatin Public Affairs - 2012
Web video
Sound design, edit, and mix:
Matt Tibbs
Music composition and performance:
Matt Tibbs and Adam Harris

Tecnu Extreme - 2010
Regional market commercial
Sound design, edit, and mix:
Matt Tibbs

"Tarts, Fools and the G-Men" - 2009
Short film
Sound design, edit, and mix:
Matt Tibbs

The Oregonian - 2009
Local market commercial
Sound design, edit, and mix:
Matt Tibbs

"The Tell" - 2009
Short film
Sound design, edit, and mix:
Matt Tibbs


Any Day Now

It’s difficult to wrap up this film in a neat package. Its aesthetic reminds me of reading Kazuo Ishiguro’s The Remains of the Day. It’s as if a little bit of weight is added at each juncture, at each scene in the film, and the cumulative weight of it sneaks up on you. The film is understated, and respects the audience enough not to hit them over the head with a moralistic or tidy conclusion.

Matt Jay and I worked on developing layers of isolation. I feel this film embraces the contradiction that you can feel most alone surrounded by the verve of a city humming all around you. Sam has a definite trajectory over the course of this film, and the sound design and edit helps narrate that arc.

From the filmmaker:

Twenty-three year old small town beauty Sam has just arrived in New York. Pulling her there, are hardly fleshed out hopes of a modeling career. Following her there, is a long standing relationship with a married politician, that may or may not have a place in the next phase of her life. And awaiting her there, is all of the disorientation and isolation of foreign environment.

Any Day Now is a quiet portrait of a young woman in transition.

Screened at:
Butter @ The Art Director’s Club
New Filmmakers New York
Salem Film Festival

Note: Trailer sound not edited by MT


Any Day Now
35 Min/Short Film/2011

Samantha Strelitz
Ron Nummi
Ryan O'Callaghan
Devan Mulvaney
Victoria Bundonis

Writer, Director and Editor:
Matt Jay
Producer: Julia Oh
Executive Producers:
Studio J and Leo Won
Patrick Scola
Original Score:
Keegan DeWitt
Sound Designer: Matt Tibbs


My Own Home – Music Vid

Matt Jay and I discussed having a very lived-in world. There was no production audio available from the shoot, so I started from scratch building this quiet, homey environment. I felt like the sound design needed to convey a sense of isolation without despair or loneliness—this is a young woman very much at home in every sense of the word.

Wieden & Kennedy Entertainment – “Feature of the Week” (Episode 29)
Official Selection: RAW Artist Showcase (NYC – August 2011)


"My Own Home"
by Jennie Wayne
3 Min/Music Video/2010

Director: Matt Jay
Cinematographer: Johnny Le
Sound Designer: Matt Tibbs


The Mountain Crumbles

This film had the typical sound challenges of an indie film: a need for noise reduction, unavailability of actors for ADR, low/no budget. However, the direction, cinematography, and score made it clear that this was a story I wanted to participate in. The essence of this project shines beyond the normal, sometimes-indulgent trappings of a feature-length indie.

I wanted to support Matt Jay’s interest in old objects, mechanical objects, so I tried to emphasize trains and Super-8 cameras, to show their sameness. There is also a strong sense of place. Growing up in the Pacific Northwest, I hiked trails similar to those in the film. Nature composed an excellent backdrop to the film and also provided an outlet for the sound design at it’s most expressionistic.

From the filmmaker:

The Mountain Crumbles is a family drama, centered around the relationship of two brothers – Gerry and Leon. After having not seen much of each other since childhood, Gerry and Leon are back in the town they grew up in, and decide to take the first step toward reconnecting over a weekend camping trip. Just as they begin to navigate their way out of the initial awkwardness of their new bond, the introduction of a mysterious young female backpacker begins to expose the more complicated urges of adulthood inside them. Set against the sweeping landscape of the Oregon wilderness, The Mountain Crumbles magnifies the little interactions between three people that ultimately build to defining realizations.

Best Oregon Film – Bronze @ Oregon Film Awards

Official Selection:
2010 Artsfest Film Festival
2010 Salem Film Festival-NW Emerging Artists Competition

Misc. Screenings:
8/15/10 – Colombus, OH – Gateway Film Center

Note: Trailer sound not edited by MT


The Mountain Crumbles
74 Min/Feature Film/2009

Natalie Buller
Benjamin Parslow
Zach Sanchez

Writer, Producer and Director:
Matt Jay
Cinematographer and Editor:
Sam Kuhn
Original Score:
Keegan DeWitt
Sound Designer: Matt Tibbs


The Tell

This is not what you would expect from a horror short. It takes the trope of a poker game and blends in elements of the supernatural, macabre humor, and musical theatre.  I’ve included this film because of its unique vision, and for the sound design challenge it represented. Vocals, as with most filmed musicals, were added later, and a blend between production dialog and sung recordings had to be achieved. Most production audio was not used, so a huge amount of foley and sound design work was needed to make a cohesive world.

2009 Open Lens Film Festival – Best of Show
2009 MonsterFest – Creative Vision

Official Selection:
2009 Portland Underground Film Fest
2009 Portland Filmmakers Night

Featured on:
Ain’t It Cool News
Horror Movie A Day



"The Tell"
6 Min/Short Film/2009

Todd Robinson
Norm Sanders
Jillian Rabe
David Rodriguez

Director: Devon Lyon
Script and Lyrics: Kevin Curry
Music: Jake Oken-Berg
Dan Walker
Sound Design, Edit, and Mix:
Matt Tibbs


Impulsion – Motion Dance Theatre

I jumped at the chance to collaborate with friend Adrian Fry of Ballet West on a new piece he was choreographing. The dance was for three men. It was a huge challenge to make a structured piece that was 10 minutes long. It’s not perfect, but I think it served the piece well and was a huge learning experience for me.


Motion Dance Theatre
Asheville, North Carolina
July 12 & 13 2013

Choreographer: Adrian Fry of Ballet West
Composer: Matthew Tibbs

Dancers in order of appearance:
Michael Burfield of Ballet Austin
Ian Hussey of Pennsylvania Ballet
Travis Guerin of Kansas City Ballet


Harnessing Big Data

I was excited to get a new project with high profile clients like and Intel from Quango–an agency I hadn’t worked with previously.

The turn around had to be extremely tight, and a focus was put on music with drive and supporting the b-roll elements. The music really came together as both safe, supportive, and better-than-stock. If possible, I always prefer to start from scratch. The clients have more control of the final project and you can actually tailor it to transitions, etc.


Production Company: Quango
Sound Design, Mix, and Edit: Matt Tibbs
Original Music: Adam Harris and Matt Tibbs

April 2013


Gallatin Web Video

Lyon Films approached me with a company that had been around for a long time, but was ramping up their web presence and wanted to stay current. After some initial discussions, I felt like the right balance would be something with forward motion that also maintained a link to the past. Organ provided the perfect link between present/past and really shaped this composition. Death Cab for Cutie’s “Home Is A Fire” provided a touchpoint for the quality of sound we wanted to achieve.

This project is a perfect example of what is possible when you work “in the box.” All the music was programmed in Logic Pro, so we were able to run off six iterations of the piece over the course of a few months as the video edit changed. Adam Harris was instrumental in helping develop the theme and handled the percussion work masterfully.


Production Company: Lyon Films
Director: Devon Lyon
Sound Design, Mix and Edit: Matt Tibbs
Original Music: Matt Tibbs and Adam Harris

November 2012


Missio Advent Project

This project was a collaboration between several members of Ballet West here in Salt Lake City and myself. Adrian Fry (choreographer and creative force behind this project) and I discussed creating music that was deceptively simple—something that had a tension to it. The project took place during the Christian season of Advent, so I began to think about re-imagining a seasonal hymn with a more modern aesthetic. “It Came upon A Midnight Clear” provided a tune that fit the aesthetic and, importantly, worked well as a reduction. Songs I culled for inspiration included “Near Light” by Olafur Arnalds and “Runaway” by Kanye West. Adam Harris helped me with the drums, which really tied this song together.


Choreography: Adrian Fry
Dancers: Jenna Herrera,
Jordan Richardson and Katie Kritchlow
Music Arrangement and Mix: Matt Tibbs
Music Performance:
Matt Tibbs and Adam Harris
Videography and Editing: Josh Rosenthal

December 2012


As You Like It

As You Like It at Utah Shakespeare Festival was a delight. In cooperation with director Robynn Rodriguez and composer/music director Brandon Scott Grayson, we created two distinct worlds for this beautiful production. The court where we meet our characters is austere and cold, a mirror for the chilliness of the Duke Frederick’s court and the relationships on the de Boys homestead. The aural landscape was scraped bare of singing birds and any exterior life, save a wind that swept across stage, a droning squeezebox, and a percussive accent that helped us transition scenes and keep the urgency of the moment.

That same wind blows our heroes Rosalind, Celia, and Orlando to the Forest of Arden. As we transitioned into Arden, birds and other forest life overtook the wind and we started to hear our Forest Lords play. We focused on original music set to Shakespeare’s text for his most musical of comedies, finding our inspiration largely in traditional Irish folk. Additionally, we used a few traditional tunes in places to help bind everything together. You can find “Blow Blow Thou Winter Wind” in its entirety here.


As You Like It
by William Shakespeare
Utah Shakespeare Festival
Cedar City, UT
July 9 - September 30, 2017

Director: Robynn Rodriguez
Scenic Designer: Scott Davis
Lighting Designer: Michael Pasquini
Costume Designer: Lauren Roark
Sound Designer: Matthew Tibbs
Music Director/Composer:
Brandon Scott Grayson

Rosalind: Cassandra Bissell
Celia: Susanna Florence
Duke Senior: John G. Preston
Duke Frederick: John G. Preston
Orlando: Jeb Burris
Oliver: Geoffrey Kent
Adam: Fred C. Adams
Dennis: Trent Dahlin
Charles: Taylor Harris
Le Beau: John Harrell
Touchstone: Jonathan Haugen
Amiens (Guitar, Mandolin, Vocals):
John Harrell
Jaques: MIchael Elich
Corin: Jack Lafferty
Silvius: Eric Schabla
Phebe: Kelly Rogers
Audrey: Latoya Cameron
William: Michael Manocchio
Sir Oliver Martext: Taylor Harris
Jacques de Boys: Shane Kenyon
Forest Lord (Guitar and Vocals): Trent Dahlin
Forest Lord (Viola): Jennifer Vosters
Forest Lord (Guitar, Frame Drum):
Devin Anderson


Julius Caesar

Stories seem to have a circularity to them in the theatrical consciousness. GRSF produced Julius Caesar summer of 2016 amid other theatres also producing or planning to produce J.C. While I can’t fully explain this phenomena, I do think that the examination of a nation and questioning power are timely and worthwhile topics. Jim Edmonson gave me full liberty on the sound design, and mentioned early on that he was interested in “demented brass.” While the brass ended up not being particularly psychological, it did effectively mirror the brashness, the power, and the regality of Caesar’s position.

The play was set in no particular time, though the costumes gave a nod to mid 20th century wear. I wanted to find something that would tie to ancient Rome, while still having a modern aesthetic to it. I attempted to find percussion elements that sounded organic rather than synthetic. Wind and chimes underscored much of the show. Caesar’s ghost was heralded by the sound of his conspirator’s whispers.

During what we termed the “boardroom” scene, I wanted something spare and tension building under the dialog. Once the knives are passed around, we brought in the syncopated percussion with hand claps. Hands and handshaking played a large part in Julius Caesar, and there was something tactile and brutal about using hands for music in that scene. Once Caesar dies, the music drops out while the conspirators try to construct their next step.


Julius Caesar
by William Shakespeare
Great River Shakespeare Festival
Winona, MN
June 25 - July 30, 2016

Director: Jim Edmonson
Scenic Designer: R. Eric Stone
Lighting Designer: Lonnie Alcaraz
Costume Designer: Rebecca Bernstein
Sound Designer: Matthew Tibbs

Marcus Brutus: John Maltese
Julius Caesar: Zach Curtis
Marc Antony: Jason Rojas
Caius Cassius: Benjamin Boucvalt
Cinna/Octavius: JuCoby Johnson
Casca/Titinius: Peter Eli Johnson
Calpurnia: De'Onna Prince
Portia: Tarah Flanagan
Murrellus/Ligarius: Mark Murphey
Flavius/Cicero/Lepidus: Michael Fitzpatrick
Cobbler/Decius/Messala: Blake Henri
Soothsayer/Pindarus: Ted Kitterman
Metellus/Cinna the Poet: Silas Sellnow
Trebonius: James Queen
Voluminous: Justin Erbe
Darius: Emily Perkins
Caesar's Servant: Raelynn Peter



As the sound designer of Great River Shakespeare Festival’s 2014 production of Hamlet, there were several goals I had in mind. I wanted to instill the dramatic action with drive and intrigue. We follow our protagonist closely, and I desired the music to mirror that, placing us with Hamlet—and at times in Hamlet’s mind—throughout the show. I also wanted to differentiate the Ghost King’s presence in a way that was sensitive to the action on stage and not hokey.

The production designers largely responded to the concept of the action taking place in a void, with a nod by the costume designer to 20th century dress. The director and I spoke about cello being an appropriate instrument for the world we were setting. We began looking at spare cello music that was moody, layered, and at times unconventional.  We decided to define the Ghost King’s entrance into Elsinore sonically as well as with lights. Strobe effects and otherworldly sound effects and music underscored his presence. The director had specific ideas about the “rules” of the supernatural presence, as nodded to by the Ghost King’s departure with the cock crow.

The music, which was conceived by me and a couple cellists, served the production well. The tone was spare. Driving, simple percussion laid under many of the cello pieces. I developed a framework with percussion and some cello ideas, and then allowed the cellists to improvise in the recording room. I believe the music was emotionally correct and balanced, not skewing into melodrama or sentimentality.


by William Shakespeare
Great River Shakespeare Festival
Winona, MN
June 28 - August 3, 2014

Director: Jim Edmonson
Scenic Designer: R. Eric Stone
Lighting Designer: Lonnie Alcaraz
Costume Designer: Lou Bird
Sound Designer: Matthew Tibbs

Hamlet: Andrew Carlson
Claudius: Michael Fitzpatrick
Ghost King: Benjamin Boucvalt
Gertrude: Leslie Brott
Polonius: Steve Hendrickson
Laertes: John Maltese
Ophelia: Sigrid Sutter
Horatio: Brian White
Rosencrantz: Christopher Gerson
Guildenstern: Doug Scholz-Carlson
Fortinbras: Benjamin Boucvalt
Voltemand: Christopher Gerson
Cornelius: Doug Scholz-Carlson
Marcellus: Gerrad Alex Taylor
Barnardo: Robert Montgomery
Francisco: John Steele Jr.
Gentlewoman: Jenni McCarthy
Osric: John Steele Jr.
Reynaldo: Robert Montgomery
Player Queen: Tarah Flanagan
Player King: Jonathan Gillard Daly

Benjamin Boucvalt
John Maltese
Jenni McCarthy
Robert Montgomery
Gerrad Alex Taylor
Gentleman: Chris Mixon
Priest: Robert Montgomery
Grave Digger: Chris Mixon
Grave Digger's Companion:
Gerrad Alex Taylor
Captain in Fortinbras' Army:
Robert Montgomery


The Crucible

This production of Arthur Miller’s classic was purposely set out of time and place to further the idea that this could happen in any insular religious community. The costumes largely were of the 1930’s, and I chose to use the early 30’s as a bookend for developing the music for this show.

In discussion with a colleague, shape note singing was mentioned. Shape note–and similarly Sacred Harp—began as a rural Southern form of Protestant worship. The singing, which uses a reduced scale and is led by hand “shapes,” is valued not for the beauty of individual voices, but for the collective experience of singing together. Blending and singing with the group is valued over any sort of virtuosity. Shape note singing has a nasal, droning quality, and we took advantage of both live singing as well as pre-recorded shape note groups.

I wanted to keep the music lean and muscular, and chose ultimately to stick with spare arrangements of piano and percussion to keep the momentum forward. I was concerned about the show falling into sentimentality, and actively worked to create nuanced scene transitions that served the purpose without beating the audience over the head.


The Crucible
by Arthur Miller
Ball State University
Muncie, IN
October 24 - November 1, 2014

Director: Eva Patton
Scenic Designer: David C. "Kip" Shawger
Lighting Designer: Graham Zellers
Costume Designer: Koledon Lambright
Sound Designer: Matthew Tibbs
Hair/Make-Up Designer: Mandy Machura

John Proctor: Kevin Lauerman
Abigail Williams: Natalie Masini
Reverend Hale: Zach Tabor
Elizabeth Proctor: Sam Sheeks
Reverend Parris: Evan Cullinan
Rebecca Nurse: Sophia Foldvari
Francis Nurse: David Merten
Judge Danforth: Matthew Bettencourt
Giles Corey: Keith Overall
Thomas Putnam: Jake Milligan
Ann Putnam: Mary Taylor
Tituba: Keirsten Hodgens
Mary Warren: Ashley Greenwood
Betty Parris: Bethany Spevacek
Ezekiel Cheever: Brandon Merriweather
Judge Hathorne: Ryan Murphy
Marshall Herrick: Justin Vance
Mercy Lewis: Olivia Schaperjohn
Susanna Walcott: Allie Richardson
Sarah Good: Bryce Saxson
Hopkins: Adam Allen


King Henry the Fifth

One of the things I greatly appreciate about Great River is the focus on the text rather than applying an “idea” to the play and trying to make it fit. I think theatre is most relevant when we produce the text faithfully and respond to the themes within the show. Jim’s focus during King Henry the Fifth was on the horrors of war-making and the toll it takes on all involved.

The sound design consisted of plenty of drums and brass signals, pastoral woodwinds, and black powder explosions. In addition, Jim requested that a couple pieces associated with Henry V (the “Agincourt Hymn” and “Non Nobis”) be sung live. These pieces ended up providing part of the aesthetic for the show. In addition, Jim encouraged me to view the film Danton, which uses synth and tonal elements to help communicate violence and intrigue within the setting of the French Revolution. This influence led me to develop the tonal and ambient pieces used during several key scenes.


King Henry V
by William Shakespeare
Great River Shakespeare Festival
Winona, MN
June 29 - August 3, 2012

Director: Jim Edmonson
Scenic Designer: R. Eric Stone
Lighting Designer:
Lonnie Rafael Alcaraz
Costume Designer: Meg Weedon
Sound Designer: Matt Tibbs

Chorus: Corey Allen
King Henry: Doug Scholz-Carlson
Duke of Exeter: Michael Fitzpatrick
Earl of Westmorland: Kyle Cotton
Archbishop of Caterbury/King of France:
Jonathan Gillard Daly
Bishop of Ely/Dauphin of France:
Brian White
Donny Repsher
John Maltese
Christopher Gerson
Pistol: Chris Mixon
Nym/Rambures/Le Fer:
Peter Eli Johnson
Robert Montgomery
Boy: Jamie Dufault
Hostess/Isabel, Queen of France:
Laura Jacobs
Katherine, Princess of France:
Stephanie Lambourn
Alice, her waiting woman:
Tarah Flanagan
Constable of France:
Benjamin Boucvalt
Montjoy: Gerrad Alex Taylor


‘Tis Pity She’s a Whore

This show was written/produced about 40 years after Shakespeare’s works, so the play is old and falls into the Jacobean period. Ford’s writing was less beautiful than much of Shakespeare’s, but the rhetorical line through the writing is definitely easier to grasp. As such, Ford’s text made for an interesting canvas for some non-historical design choices.

Ford’s story is full of murder, passion, jealousy, and yes, incest. The director approached me with some samples of music she had been using for movement exercises and as inspiration for the show. Within those tracks was the Zed’s Dead remix of Blue Foundation’s “Eyes on Fire.” I hadn’t spent any time with dubstep previously, though I had noticed this sort of music making its way into advertising and action film trailers.  After listening to other artists in the genre, I felt like dubstep held the correct balance between melody and aggression and was a good choice for the world we were creating.

We needed a lot of music to support nearly three hours of material. This was a project that needed its own sound, so I took on composing responsibilities and began to learn how to create and program dubstep. It’s an interesting genre as there are some “rules” surrounding bpm and song structure, but there’s concurrently a lot of freedom within that structure. I ended up developing a theme and several variations, as well as pieces for two dances, and scene change music.


'Tis Pity She's a Whore
by John Ford
University of Utah Dept. of Theatre
Salt Lake City, UT
November 9 - 18, 2012

Director: Sarah Shippobotham
Scenic Designer: Iris Salazar
Lighting Designer: Jesse Portillo
Costume Designer: Katie Miller
Hair/Makeup Designer:
Sarah Shauerhamer
Sound Designer and Composer: Matt Tibbs


Find and Sign

PTC staged the world premier of Find and Sign. MacLeod’s script had a lot of interesting narrative tension with Othello without being a clumsy reiteration of Shakespeare’s classic. I tend to naturally bring a slightly different energy to a new work–I like the idea that no one has ever seen a show before, that it is brand new for all of us. New shows make me want to put my stamp on them.

I felt like most good, mainstream hip-hop had vocals, which didn’t really work to our benefit. A lot of the instrumental tracks I found felt uninspired, so I brought on student Adam Harris, and together we built dozens of tracks from the ground up. In true hip-hop fashion, we sampled old records and hit You Tube to see what latest and greatest were up to. We also had the distinct pleasure to work with two really great artists: Majesty out of NYC, and B-Side out here in SLC for the two tracks with vocals in the middle of the show.


Find and Sign
by Wendy MacLeod
Pioneer Theatre Company
Salt Lake City, UT
January 13-28, 2012

Director: Charles Morey
Set Designer: James Wolk
Lighting Designer: Dennis Parichy
Costume Designer: Pamela Scofield
Makeup Designer: Amanda French
Sound Designer: Matt Tibbs
Original Music:
Matt Tibbs and Adam Harris

Julia: Molly Ward
Iago: Karl Miller
Mac: Terrell Donnell Sledge
Mona: Gardner Reed
Andre: Keith Hamilton Cobb
Cal: Daniel Morgan Shelley