Background Information on Richard Audd,

First Prize Winner in the 1997 Creative Inspire 

Open MIDI Contest

and 2002 Creative Labs Soundfont Contest Winner.


Conductor and composer Richard Audd is a native of Oklahoma and a member of the Muscogee Creek Nation, living most of his early years and attending school in Tulsa, Oklahoma. He took the proverbial piano lessons and high school music theory courses, and performed in the band and orchestra, as well as playing piano and organ for various churches. His first two pieces for orchestra were premiered by the Edison Preparatory High School orchestra.

Richard then attended Oklahoma Baptist University on composition and piano scholarships, receiving a Bachelor of Music Education degree with an emphasis on Eb clarinet and piano. During his 4 years at OBU, he traveled around the Far East, Europe, and much of the United States on various musical tours. He is listed in Who’s Who Among Students in American Colleges and Universities. At OBU, he was given free rein to write, perform and conduct many concerts with the school’s band, orchestra, and Chorale. Highlights include conducting full performances of "Camelot" and Randall Thompson’s "The Testament of Freedom".

Richard then entered the famed Eastman School of Music, receiving a Master of Music Degree in Composition. While at Eastman, he studied with Samuel Adler and Warren Benson, played Eb clarinet in the Eastman Wind Ensemble and Eastman Philharmonia, conducted the Greece (New York) Symphony Orchestra, and performed/conducted both his own and other works in many school sponsored concerts. He attended Eastman on a full opera coaching fellowship and also worked as a choir director for a local church.

After completing the musical score for a student documentary film at Eastman, Richard moved to Los Angeles, eventually becoming a much sought after and respected video tape editor. He has edited and scored many award winning television shows and commercials, and continues to pursue his more serious musical goals. He has been a teacher and guest lecturer on television post-production and commercial music production at various universities.

Richard has written some 40 ‘classical/concert’ musical works and over 50 commercial works.

Using an ARP2600 synthesizer, Richard scored a 14 second logo for ABC-TV. This logo played for 2 years and won a Clio award.

In 1983, Richard wrote, produced and recorded all of the on-air identification graphics and commercial music for the old pay-per-view ONTV network. The full package contained 3 hours of music, recorded with live musicians and synthesizers.

He began actively experimenting with a new method for recording classical orchestral music using computers, existing software, and electro-acoustic instruments (synthesizers). He realized that for the first time in history, composers had the opportunity to write, record, and release their own music without being dependent on other musicians and organizations. Combining existing technology with a new philosophy for recording, he released two albums in 1993 and 1994 featuring the East Pacific Symphony, the complete electronic duplication of an 80 piece orchestra. These first two albums, a new light ~ christmas and Somewhere Over…, are considered as experiments with much more development to come. Both CDs sold out. In 1994, Tracey West of NPR Radio said "This stuff is great!".

In 1999, a new light ~christmas was the number one selling Holiday album at the old website. 

  A new recording of the "Merry Christmas, Mr. Britten" from a new light ~ christmas was released on Garritan Libraries 2009 Christmas album.   

In 1997, after purchasing and setting up a new computer system, Richard chanced upon a worldwide MIDI (musical instrument digital interface) music writing contest on the Internet. The contest was sponsored by Creative Labs, makers of Sound Blaster computer sound cards. All entries had to be in the form of a computer generated MIDI file and sent through the Internet. Out of over 1000 entries, Richard won First Prize (behind a Grand Prize) for his piece, Earth Day. The $6000 prize included new recording equipment and cash. Since winning, he has contributed an article to the Creative Inspire website on using MIDI to write and produce symphonic music.

Richard was given 3 grants in 2010 to produce computer generated music for three Native American composers. (Richard is a member of the Muscogee Creek Indian tribe in Oklahoma.) Each composition provided challenges not met before. The grants came from the First Nation Composers Initiative (FNCI) through the Ford Foundationís Indigenous Knowledge, Expressive Culture grant program; from Fractured Atlas; and from the San Francisco Bay Area Chapter of the American Composers Forum. More information is on the NARP page.

On June 5, 2002, Creative Labs announced Richard as the First Prize winner (behind a Grand Prize winner) in their Soundfont contest. His piece of music, Concert Fanfare for Orchestra, was originally written as the trailer music for the compilation film, Fantastic Animation Festival in 1978. Richard revised the piece as a concert fanfare for full orchestra in 1993.

This piece has now been recorded by Robert Winstin and the Czech Philharmonic for inclusion in 

Volume 10 of Masterworks of the New Era from ERMMedia


In a March, 2004 interview, cellist, writer, composer, and studio owner, Ethan Winer talked about Richard's music at

INTERVIEWER: Over the years, you seem to have gained a lot of experience as a musician - both in playing classical instruments (such as the Cello) and electronic instruments? Does this experience help you create better music today using synthesizers and computers?

ETHAN WINER: Definitely. Until you play classical music for yourself, and sit next to others in an orchestra, you have no idea of the fine detail required for a realistic performance. Brass players rarely blow a note at full volume and sustain that level for the entire duration, which is what I hear many amateurs do when they sequence a classical score. Rather, most notes start with an initial burst of attack for articulation, and then die quickly to the sustain level to make room for whatever else is playing. Likewise, real string players constantly adjust their dynamics to match what the score calls for, fading up and down to breath life into the music. One of the best examples of good classical music MIDI sequencing is Richard Audd's EarthDay. I believe this MIDI file comes with the current SB Live! installation CD. Anyone who wants to do a credible job sequencing classical music should study this piece, and in particular look at how Richard uses Volume controller messages.


Richard is a member of the American Composers Forum, the First Nation Composers Initiative, the American Music Center, Local #47 in Los Angeles, NACUSA, and ASCAP.

Richard currently lives in Lancaster, California and is continuing his work with plans to release more albums of original and traditional classical music in the near future. Other interests include reading, swimming, and snow skiing. Richard also collects (and enjoys) single malt scotches.

For more information, please click on Resumes. Other links and videos can be accessed through the Links/Contact page.


About RMA Music 

and the East Pacific Symphony

RMA Music is dedicated to the production and distribution of the music of composer Richard Audd and the East Pacific Symphony. Richard created the East Pacific Symphony in 1993 when he developed new techniques for the recreation of a full symphonic orchestra sound through the use of computers and synthesizers.

So how is it done?

There really is no trick involved to producing the computer-generated sound . The equipment is quite basic but not to be disclosed at this time. Today, all music is produced digitally without the sound ever leaving the computer.


However, what Richard does with this equipment is a little different. Most musicians who record with MIDI based equipment 'perform' the music on the synthesizer and their computer programs record their performances. Their music is then played back, mixed, and released.


Instead of performing the music into the computer, Richard merely uses his keyboards to get the musical lines and notes into the computer. Then the real 'performance' occurs. Just as anyone uses a word processor to write and edit words, Richard uses the computer to edit his music. The real performance comes from editing and stroking every single note of music into a sound-rich line of music. This means having a strong background in each instrument and knowing how each should sound and be performed.


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