MoonTech Studios
Hi, I’m Kyle.
I’ve been a musician my whole life, and was lucky enough to tour with a small jazz band in the 80s and a rock band in the 90s. When I returned to the US, I moved to LA and started working in the studio system — sometimes as a hired musician, sometimes as an engineer. I had my eye on movies, but video games interceded, and before I knew it I was working on some of the biggest games in the world. After years in the industry I returned to albums and got to work with some of the biggest musicians in the world.
Whether it’s my own music project (We Spies), working on other musicians’ albums, leading audio teams for video games, mixing for TV and film, or creating audio software… I’m in heaven.
The long way here.
Thirty years, chapter by chapter.
Jazz in Europe
Moved to Germany, went to college, and joined the U.S. Air Force, toured the world playing jazz.
- Deployed to Desert Shield and Desert Storm in my early twenties — nine months stationed in Oman.
Bands, then Doom levels
I landed in Los Angeles in 1991 and played locally, then moved to Santa Barbara the next year and joined a band called Nothing — we did well enough to tour the US. Landed my first video game gig, contract work on Turok, which led to Gabriel Knight: The Beast Within and to designing levels for Doom, Doom II, Heretic and Hexen for WizardWorx.
A detour into software
I moved to Ohio to build a career as a software developer and database engineer (C++, Java, C#), and opened a recording studio on the side as a hobby. It stayed booked constantly — a sign of where I actually belonged.
Founding MoonTech Studios
Back in Santa Barbara, I started working in games full time on The Sims 2, took on studio-musician work for indie artists wherever I could find it, and built my second studio — officially opening MoonTech Studios. In those early years it was a genuine mix: musician, recording engineer and mixing engineer on the studio side; composer, mix engineer for other composers, and occasional sound designer on the game side.
Neversoft, then Vicarious Visions
I went in-house with Neversoft. Worked on a bunch of amazing games with the most amazing team. In 2010 I was relocated to Vicarious Visions in New York to continue Guitar Hero development. I thought we would be there for a while but unfortunately Guitar Hero was shelved a year after I arrived. So back to California I go.
GAGE’s first spark, and mixing for a living
Arriving back home in Ventura was a fruitful time. I started building the first version of GAGE, went back to independent game-industry work, started mixing albums for musicians like Ozzy Osbourne and Eddie Van Halen, met my mentor David Reitzas, recorded the first We Spies album, and created and hosted the YouTube show; Game Audio Hour. Unfortunately, we couldn’t get GAGE fully funded due to the economy crash at the time, so I had to shelve it.
Lynda.com, LinkedIn, and the MoonTech Mixing Course
Drawn to working on documentaries, I took an open opportunity with Lynda.com. They needed production audio for their documentary shoots as well as post mixing. Lynda had an incredibly kind and creative culture. I stayed through the LinkedIn acquisition and then the Microsoft acquisition — over eight years in all. When Covid hit and a lot of friends lost work, I used the skills I learned there to build the comprehensive, and immersive, MoonTech Mixing Course and offered it for free to anyone who needed a new skill set.
Back to games, and GAGE again
I left LinkedIn to return to games, taking the Lead Dialogue Designer role at LightspeedLA. When a mass layoff there affected my position, I went back to redeveloping GAGE — which is the software linked above.
Drop me a line.
Recording, mixing, audio direction, or GAGE. Send a note and I will reply.