Sound Designer | Unity | Meta Quest

Sound Designer | Dunia Engine | PS5

Full ownership of audio design for several levels including world defining assets, cinematics and music editing.

• 00:00 Sound Design & Music Design

• 00:18 SFX_Moving Walls

• 00:33 SFX_ Moving Platforms/AMB

• 01:01 MUS_Maze

• 01:22 SFX_Mortar + Explosions

• 01:48 SFX_Bomber Fly-By

• 02:02 SFX_Portal Open/Close

• 02:09 CIN_SoundDesign

• 02:43 Dark/Light Drone System Design

• 03:33 SFX_Energy Storm

• 04:00 Music Editing Level Sequence

Sound Designer/ Music Editor | Dunia Engine | PS5

Edited the composer's stems into new compositions for all levels of combat, stealth, exploration and scripted mission moments throughout the game.

Designed mission music moments and transitions, loading screen loops per game region and completion stingers.

Assisted the music director with the implementation of the open world music system.

Recorded Foley using found objects, in-studio with various microphones to gather new sounds to add to the team’s SFX library.

SFX for in-game object interactions, checkpoint racing SFX, world propaganda binks.

Implemented in-world music sources like radios.

Copyright-free music selection and implementation for races and the cockfighting mini-game.

• 00:00 - Music Editing - Title Screen Loop

• 00:37 - Music Editing - Loading Screen Loops

• 01:09 - Music Sourcing/Editing - Mini-games

• 01:30 - SFX In-World Attractor

• 01:46 - Checkpoint Racing UI SFX/ Music

• 02:16 - Weapon Source Foley Recording

• 02:33 - World Music Sources Radio Implementation

• 02:38 - SFX - CB Radio Animation

• 03:23 - SFX Yaravision News Stinger

• 03:30 - Propaganda Sound & Music Design

• 04:15 - Open World Music System Sequence

• 06:00 - Mission Complete Stinger

Sound Design | Snowdrop | Nintendo Switch

Designed SFX for Star Fox's Arwing ship engine combining several dynamic layers:

• a high air layer (like alien ship steam)

• a low wind layer (strong storm-like gusts)

• a modulating synth bass layer (alive and hovering)

• a jet flame layer (whipping like a flag).

Each sound is tonally unique and behaves differently when the ship is skimming (on the ground), vs. flying in the air or in space. That is due to RTPCs on blend tracks in Wwise that control pitch, linked to player speed and volume linked to player height. When in flight the flame element is linked to a gameplay parameter from the player input (turning range) and is accentuated when doing wide and fast turns.

The servo, boost, shield, and weapons SFX complement the ship engine SFX to create a dynamic and reactive sounding ship that is enjoyable to fly, without fatigue.

When designing the sound of the ship I was inspired by the sound of Star Fox 64 as well as the SFX of the original Arwing on SNES. I wanted to revitalize the sound, make it modern, realistic and thrilling like a powerful military jet.

A showreel/demo reel of some sound design and implementation highlights from several AAA games including: Assassin's Creed Nexus VR, Far Cry 6 & DLC and Starlink: Battle for Atlas.

As a sound designer on Assassin’s Creed Nexus VR, working remotely with the team in Düsseldorf I created sounds for the ‘Animus’, the Nexus VR logo, various UI sfx, in-game interactable Beacon, and collectible fragments, the start-up scenes and puzzles as well as the entire end sequence of the game. Working in Unity developing for the Meta Quest 2/3 (Oculus) headset.

Took ownership of the audio for several ‘rifts’ or levels in this sci-fi themed post-launch DLC for Far Cry 6. Handling the sound design for large level defining assets, world ambience, interactable items/traps and custom music editing.