Adam Kay Email & Phone Number

Portland, Or, Us

Portland, Oregon Area

I remotely lead a distributed frontend software development team across 4 different locations. I have also served as a technical project lead on numerous initiatives. In addition to management, I am a heavy individual contributor to several of our flagship products.

Portland, Oregon Area

Remotely contributing to major core features in our flagship products. Technical project lead for several key initiatives.

San Francisco Bay Area

Was the sole developer for many of our core platform applications, often times acting as both product designer and frontend developer.

San Francisco Bay Area

Created and managed audio assets for interactive music programming. Developed an automated pipeline for compiling weekly creative assets in a matter of minutes.

Mountain View, Ca

In charge of the Audio Department at Paragon Studios. Laid the groundwork for music and sound design on an unannounced, highly innovative, largely procedural online game. Also substantially expanded the audio tools on the City of Heroes MMORPG, bringing its feature set up-to-date with competitive standards. Designed and implemented all sounds for City of Heroes: Going Rogue, City of Heroes: Freedom, as well as all intervening expansions. IGN gave the audio for Going Rogue an 8.0 out of 10.

Austin, Tx

Ran the audio department for an unannounced project until Midway closed its Austin studio. Was previously a Lead Sound Designer, running a team in charge of all technical, logistical and creative aspects of systemic sound design for the XBOX360/PS3/PC title Blacksite: Area 51. Also provided technical scripting, sound design and consultation on TNA: Total Non-stop Action Wrestling. Responsibilities included supervision of sound design and music implementation. Had a direct hand in creating all creatures, weapons and vehicles on Blacksite: Area 51.

Austin, Tx

Worked as a contract sound designer for the XBOX/PS2/PC title Area 51 creating weapons, creatures, particles, props, room tones, user interface feedback, streaming ambiences, surround cinematic cutscenes, and surround music mixes.

Hollywood, Ca

Was solely responsible for all creative and technical aspects of placing music into a feature film. Selected and edited temporary music, provided composer support for recording and overdub sessions, and provided dubbing stage editing support for temporary dubs as well as for final mixes. This position required expert knowledge of various digital audio workstations and sequencers. As well, it required acute file management skills, an intense attention to detail, and a high level of client service and support. Films worked on include: Idlewild, Because Of Winn-Dixie, The League of Extraordinary Gentlemen, Scream 3, Stigmata, Playing By Heart, and Anastasia.

Hollywood, Ca

Supervised in-house and location support for up to twenty mobile Pro Tools digital audio workstations. Duties included equipment setup, software and hardware troubleshooting, maintenance, and scheduling. This position required an ability to quickly and concisely relay software and hardware troubleshooting solutions either through telephone or on-location support. Likewise, it demanded a high level of diplomacy and professionalism under intense pressure.

Hollywood, Ca

Edited sound effects and foley, designed special effects sequences, and provided dubbing stage support for feature films. Films worked on include: Home Alone 3, and Deceiver.

Hollywood, Ca

Recorded, designed, and edited sounds for a leading sound effects company. Designed and maintained a database for cataloging effects. Projects include: Premiere Edition 2, Animal Trax, Burtis Bill’s Sounds of the American West.

Danbury, Ct

Oversaw all day-to-day operations, including artist relations, for a non-profit outdoor concert venue. Artists worked with include: Wynton Marsalis, Tower of Power, Hank Williams Jr., Nancy Griffith, Harry Belafonte, and Kenny Loggins.

Danbury, Ct

Supported sound crews for touring artists at a live concert venue. Assisted in load-in, load-out and various support tasks during the shows.

Bachelor Of Science, Music Recording

(Attended 1 Year Before Transferring To Usc), Liberal Arts