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Twenty years of music/audio, film, academic, and media experience.
Young’s experience runs the gamut of composition/music production, video production/editing, audio engineering, sound production, special fx makeup, orchestral and choral writing, music technology lectures and public speaking, visual fx, movie trailer production, humanities education, animation, film music, foley, and more.

Versatile, experienced, professional, and easy to work with, Young is an excellent addition to any project. Located in Buffalo, New York, Young has been involved in local productions as well as dozens of international projects for clients.

"Sabrina has contributed significantly to Easy Ear Training's music education projects over the last two years. Through her articles on our website she has explored a wide variety of interesting topics in contemporary aural skills development. Without exception Sabrina has brought positivity and enthusiasm to her role, while consistently delivering superb work on or ahead of schedule. Her work is characterised by imagination balanced with scientific rigour. She can generate innovative and inspiring new ideas and then back them up with logical argument and evidence from research. Her talent for teaching comes through strongly in her written work. She has become an important part of the Easy Ear Training team, and I always look forward to working on projects with her." - Christopher Sutton, Easy Ear Training.com

"Priceless Insight! Having worked on my album for so song, I lost perspective and needed a music pro with fresh ears, an open mind and a diverse skillset. I was lucky to find Sabrina who is well-versed in the arts of music, recording and production. I received a very prompt response and it was quickly clear that Sabrina knows her stuff. Candid, but objective, her feedback was invaluable! I am so thankful for the detailed, thoughtful critique. Highly recommended!" Composer Michael Patrick Devine

“[Libertaria] was a heroic effort, and the level of singing in the animated opera was very high...It sounds like a graphic novel, and it looks like one, especially with its cartoon balloons taking the place of supertitles. As a story, it is very much in line with the good-vs.-evil sci-fi tradition, with the added bonus of a plucky female heroine…There are a good many percussion effects in the opera, and its tone is primarily quite dark and sinister, very much along the lines of a contemporary video game score.” Palm Beach Arts Paper Music Critic Greg Stepanich.

Over 160 artists coached!

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"Excellent feedback and marketing ideas Sabrina gave not only valuable critique for each of my songs but also a number of great marketing ideas that more or less helped me to narrow down to a few strategies that would be most effective for my situation. It will save me a lot of time and money to know where to focus my efforts. Highly recommended!" Composer Peter Garnvik

For the artist on a budget, enjoy quality music critiques, coaching and more at Music Xray at an affordable rate. I love working with new artists, helping them reach the next level. Receive quality marketing advice, critiques on your music production, professional tips on lyrics, songwriting, and mixing, and more.

Full Music Album Critique, Coaching and Music Review

A Composer's Brief Guide to Percussion Mallets

When composing for percussion, it is important to know the difference between a variety of mallets. Although in most cases the percussionist will choose the proper mallets for the passage, sometimes as a composer, you want a particular sound. It is always good to research a mallet before indicating it in your score. Consult a percussion catalogue for a more in-depth look at the hundreds of mallets available. 1. YARN MALLETS They come in every dynamic range from supersoft baseball-sized to forte. They are the multi-purpose mallet, used for toms, suspended cymbal rolls, marimba, xylophone, woodblock, and pretty much anytime a percussionist doesn't have time to pick up another mallet. 2. CORD MALLETS These are harder than the yarn mallets. More effective on xylophone and vibes, these mallets can also be used for a variety of percussion instruments. 3. BRASS MALLETS These are for use on the glockenspiel/bells and the occasional brake drum. They produce a more "tinny" kind of ...

Music Secrets: The Music School Survival Guide

Music Secrets: The Music School Survival Guide Don't have any time to balance rehearsals, exams, and a social life? Then read on! So you find that between playing in orchestra, the school musical, a solo recital or two, joining Sigma Alpha Iota or Phi Mu Alpha , playing in the alternative band at night, pep band, and marching band that you can't keep your eyes open, let alone study for the music history midterm next week or even begin to write your term paper on Debussy? Then read on and learn to balance life in Music School. 1) Musicians DO need to Sleep Yes, you need to sleep, even if it is only five hours a night plus catnaps. Your brain cannot function if you do not sleep. So sleep, even if that means that you can't play in that awesome alternative band that jams every other night till 5am at the local bar. 2) Eat right and exercise Okay, so I sound like your parents, or Oprah, but I am serious. My biggest mistake as an undergrad (well, one of my bigges...

Percussion 101: How to Play Hand Crash Cymbols

Young Girl Plays Cymbals The hand cymbals (or crash cymbals ) are extremely versatile percussion instruments . The hand cymbals are used in the military, drum and bugle corps , the orchestra, and wind ensembles. Proper percussion hand cymbal technique takes many years of practice and hard work, as well as stamina and upper body strength. The most common use of the hand cymbals is in the drum line, whether in a high school band or a professional drum and bugle corps. Two cymbals are held by straps to the cymbal player's hands. In marching band and drum and bugle corps, the cymbal player often will loop their own hand in the strap, then grab the strap. Protect Your Hands Tape, strap pads, and gloves are often used to protect the cymbal player's hands from blisters and the slow grinding away of skin during a lengthy band show. In the orchestra setting, where the crash cymbal is often reserved for music accents and shorter music passages, the percussion player does...

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