“Nothing has to be true, but everything has to sound true.”
- Isaac Asimov
“Nothing has to be true, but everything has to sound true.”
- Isaac Asimov
Sound Designer | Unity | Meta Quest
Created sounds for the “Animus”, including ambience, various UI SFX for holograms and visual glitches, the start-up initialization sequence and interactive puzzles in VR. I assisted with the design of the AC: Nexus VR intro logo in time for the announcement trailer. Designed intricate sounds for in-game interactables like the end of ‘memory’ Beacon orb, and collectible fragments. Implemented the sound design for the end sequence playable cinematic of the game and the simulation’s destruction.
00:00 UI SFX and AMB Startup Sequence Initialization
00:20 SFX Puzzles & Player VR Calibration
00:44 SFX Interactable Beacon Orb
01:10 Cinematics SFX In-engine
01:45 AMB Destruction Glitches SFX
02:10 AMB Isolated Dark Drone Loop
02:30 Hologram, Banner and Transition SFX
03:10 AC VR Title
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.
Assisted the Ubisoft Bucharest audio team remotely for about a year’s time, helping design sounds for a new Ghost Recon. My mandate was to support the small audio team on vehicles and ambience. I helped redesign the deployment helicopter, all vehicles, and the main menu soundscape. I executed a polished menu flow of smooth transitions and sounds when navigating between tabs alongside the main menu music within a soundcaster session.
Designed SFX for in-game: object interactions, checkpoint racing SFX, world propaganda binks, music selection and implementation for races and the cockfighting mini-game. Assisted with the editing and implementation of the open world music system. Edited the composer's compositions for various levels of combat, stealth, exploration and scripted mission moments. Edited music and transitions for several missions, in-world music sources like radios, loading screens and completion stingers.
I was the sole Audio Tester on Starlink: Battle for Atlas where I examined the audio systems and overall sound quality across all platforms using Wwise as well as the Snowdrop engine. Working on a small audio team I took on audio tasks throughout development, creating unique sounds for the game, implementing and finally testing them in build. My notable contribution to Starlink was designing the ship engine SFX for Star Fox's Arwing on the Nintendo Switch version.