A voice on
the score.

"We need a choir that reads pop. Character-voice ensembles, full chorale numbers, all in one score."

Sixty-five songs on one original score. Choir and ensemble work across the entire soundtrack — the largest single-score placement in my catalog.

Choir work spanned character-voice ensembles across multiple leads and the big chorale numbers — "Golden Slumbers," "The Moon Theatre," and the finale.

"Hired all the singers for the album. We ended up singing on almost every song."

Hired all vocal talent for Neil Young's Earth — the 2016 live + studio hybrid record. Tracked a choir that could move between protest-folk weight and stadium-rock lift across the full tracklist.

Picked up sole vocal contracting credit. One of the longer single-record collaborations in my catalog — the choir appears on almost every cut.

"Bring a gospel-adjacent choir that reads pop. Needs to sit under the lead without flattening the emotion."

Hired all vocal talent for the album cut. My husband, Dana Nielsen — staff engineer — arranged parts and sub-mixed the choir stems before they went to the record.

The hard part: auditioning voices that could blend without reading as session-choir. We pulled six singers, tracked stacks over two days, printed four passes per part.

"Classical chorale texture, but it can't sound like it's from a church. It's a laundry ad."

Chorale vocals for Procter & Gamble's national Super Bowl placement. One of the 24+ national campaigns I've been the vocal on.

For commercial work the brief is always specific — the bed has a fixed tempo, the voice fills a specific register, and it has to pass a brand-side review without losing the singer's instinct.

"We need the actors singing on camera at Golden Oak. Make them sound like singers."

Vocal demos + on-set coaching for Verizon's national campaign at Golden Oak Ranch. Prepared the actors before the shoot, ran the takes on set, kept the singing performances inside the brand brief.

On-set work runs through pre-production rehearsal, on-camera coaching, and same-day cleanup with the music supervisor. The role isn't sung-by — it's the coach in the actor's ear between takes.