jon4Since beginning his career, Jon Bash (nope, it’s not John Bash or Jonathan Bash ūüėĄ)¬†has composed, performed, and arranged an eclectic variety of polystylistic music, including for the concert hall, films, games, and for fun. His works have been¬†performed by¬†WWU Wind Symphony,¬†the¬†Equus Sax Quartet, the Bellingham Chamber Music Society,¬†Rachel Hacker, Madeline Slettedahl, and many others. His music has been featured in film festivals across the US, most prominently in the cult monster film¬†Hunting Grounds (formerly¬†Valley of the Sasquatch). He¬†has also presented¬†at events both abroad and internationally, at the semiannual¬†Game Audio Bash he co-founded and co-organizes as well as¬†at the international¬†Ludomusicology Conference¬†in Chichester, UK.

Jon studied music composition at Western Washington University under Roger Briggs and Bruce Hamilton, graduating magna cum laude in both March 2013 with a Bachelor of Music in Composition and in June 2015 with Master of Music in Composition. He has received numerous awards for his compositions and was chosen as Western Washington University’s College of Fine and Performing Arts Presidential Scholar as an undergraduate and as Outstanding Graduate upon receiving his MMus. He currently lives in Bellingham, WA with his middle school teaching wife and NPC cat, where he continues to actively compose and teach.

Jon can be reached by email at jon@jonbash.com.

I have a few goals I aim to achieve with every piece of music I write.

  • Make me feel something (excitement, calm, terror, madness…)
  • Make my¬†audience feel something (not necessarily the same thing that I will feel!)
  • If it’s¬†accompanimental music, serve the needs of the¬†media, be it through¬†acting as a palette on which a scene is painted, accentuation of what is already there, or guiding the listener’s attention
  • Attempt to do/show something both new and enjoyable¬†to¬†myself, my audience, and my performers, balancing challenge and accessibility

Fulfilling all of these goals at once is a formidable challenge every time I sit down to write, but overcoming that challenge is the joy of composition, be it of a new concert work, a new game score, or a new solo album.

  • Original composition and artistic sound design for the concert hall, film, games, television, web, dance, and other media or projects
  • Arrangement, transcription, typesetting, score/part preparation, and other services¬†for existing music of any genre
  • Classes, workshops, and¬†coaching¬†in theory, composition, game audio, productivity, and more
  • Audio tech services, including setup, recording, and troubleshooting of issues with audio equipment
  • Music consultation and production for your score, album, or¬†any other music for which you need outside expertise

Interested in hiring Jon? Contact him here!

Jon provided an amazing score for “Valley of the Sasquatch”. He was eager to collaborate and very communicative throughout the scoring process. He gave our indie horror film a big epic score with a theme that will stick in your head for weeks.

‚ÄĒ John Portanova, Writer/Director¬†Valley of the Sasquatch

…the score by Jon Bash helps establish the tone for the film, adding a sense of adventure and scale to the creature feature structure of [Valley of the Sasquatch]

‚ÄĒ Ken W. Hanley,¬†Fangoria

Jon delivers great work, no matter the amount of direction. Jon’s compositions bring a great emotional element and depth of character to films in a subtle, yet appropriately noticeable way. His mastery of music and attention-to-detail are the tasty cake frosting every good film needs.

‚ÄĒ Robert Speewack Bojorquez, Production Manager, Cinesaurus

Jon Bash is the rare musical architect who can balance his cerebral inclinations with his sense for the intangible. His consistent ability to develop and deliver unique, bold, and dynamic compositions makes him an ideal working partner for any collaborator or commissioner.

‚ÄĒ John von Volkli, former bandmate/songwriting partner

I met Jon at the 2014 Global Game Jam, where he was offering his services as a composer and sound designer. I’ve worked with Jon on a few game projects since then, and wish to continue to do so for several reasons:

For one, Jon has ALWAYS met his commitments to our projects. He communicates his status and any difficulties with a frequency that puts the team at ease. This is an understated quality in collaborators, which is why I feel it needs to be stated above all other testimony. This man gets stuff done.

For two, Jon is extremely receptive to criticism and effectively incorporates any suggestions into his work. I am not the easiest director to work with in this sense – I have demanded very technically precise pieces that have required multiple iterations of feedback in a short timeframe. Jon has risen to those occasions and produced to my requirements without complaint.

For three, Jon is good at, uh, making music. Best for last, am I right? I still loop the soundtracks for the games we’ve worked on because…well, just listen to his SoundCloud. You’ll hear what I’m talking about.

‚ÄĒ Piers Excell-Rehm, game developer

I hired Jon to write a cello arrangement to go with my existing original guitar arrangement. He worked very fast and supplied me with all needed sheet music and recordings. He really elevated my song and the cellists mentioned how well written their parts were. Successful project! Thank you Jon!

‚ÄĒ Deborah Blakesley, singer/songwriter

An excellent composer and a soon-to-be major player in the new field of ludomusicology. His work as a scholar is thoughtful, intuitive, and results in excellent, provocative results.

‚ÄĒ Bertil van Boer, Professor of Musicology-Theory

“I had the utmost pleasure of partnering up with Jon for a recent game jam. He handled the overall sound design, including composing the main theme + alternative mood variations and all sound effects.

Jams are a uniquely challenging environment to work in and teaming up with strangers can often lead to difficult situations, fortunately Jon was more than able to work with the restrictions and achieved fantastic results based on very little input – I was particularly impressed by his ability to understand and produce the perfect atmosphere based on an admittedly stark game design.

Overall working with Jon was easy and the results were beyond expectations, I wouldn’t hesitate giving him full creative control over sound design on future projects and I feel his work was of vital importance to helping our game place first in the ratings.”

‚ÄĒ Tim Cooper, Game Jamineer

computerComputer Hardware and Software

  • Main rig: 2014 iMac; 3.1GHz 4-core i7; 16GB RAM; 21″, w/ two additional 21″ monitors
  • Mobile rig: 2014 Macbook Air; 13″
  • iPad (4th gen)
  • Logic Pro X
  • Cubase 8.5
  • NI Komplete 9
  • EastWest/Quantum Leap orchestral sample libraries
  • Avid Sibelius 7
  • Cycling74 Max 6
  • Propellerhead Reason 7
  • Cockos Reaper 4.x
  • Presonus Firestudio Project interface
  • various midi controllers
  • tons of plugins
  • various odds and ends and collected samples

Acoustic Instruments

  • Fender Custom Telecaster (dual humbucker, solid body)
  • Ibanez acoustic guitar
  • Djembe Direct djembe
  • Hohner melodica
  • flute
  • mandolin
  • bass drum
  • tam-tam
  • tambourine
  • soprano and alto recorders
  • various other collected things and household objects