About
I started out playing guitar when I was around 12-years old. At the time, I was learning songs from my favorite metal bands, and finding a way to be the fastest guitar player. Eventually, I decided that I needed to find a band and had trouble doing so. Anyone I tried to jam with wouldn’t practice, want to write music, or show up on time. This led me to forgetting the band idea and picking up my first PC with a copy of Ableton Live 10. With this I had all I needed to start learning the basics of composition, production, and mixing. I spent many hours sitting in front of my computer trying to get better at digital audio production. Electronic music is what I started out producing, it was simple, I could do it alone, and I quickly saw growth in my abilities.
This obsession with audio led me to enroll in an associates degree program for music technology. By the time classes started, I had already spent a year teaching myself everything I could about audio. During my time at this university I entered a contest for Masterclass, and won a semi-finalist position. This contest was for original tracks, and it was for one of my favorite labels, Mau5trap. This was a massive deal for me because it's the first time I got to see how people perceived me as an artist. I had never released anything up until that moment.
After graduation, I started looking at how I could do audio for video games. I remember watching the Bungie “ViDoc’s” and taking notice of the team behind the Halo franchise. Seeing the development process behind a video game was inspiring. At that moment, it showed me a way I could utilize my skills on something that was meaningful to me, and millions of other people.
Obtaining a bachelor's degree was also something I wanted to achieve. I enrolled at the Florida International University (FIU) for a bachelor’s in music. Before my first semester started, I reached out to a local game studio and wanted to try game development. I took a sound test and they liked what I created, so they brought me onboard. This experience led to me contributing audio throughout different aspects of the game, and it was a great first experience. When the game was published on Steam, development stopped and I focused on my classes.
I searched for other projects while continuing my studies. This led to me working on a couple indie games, a short film, and three live theatre performances. I was fortunate to work on all these projects, and it taught me how audio can service the needs of different mediums. These collaborations involved other disciplines, and I learned how to bring audio into the forefront of a conversation.
Currently, I am seeking an entry level role, as a sound designer, in the AAA video games industry. I would love to join an audio team, while contributing my skills towards creating something amazing.
Thanks for reading!
Game Audio Skills
Reaper
Wwise
Unreal Engine
Pro Tools
Ableton Live
iZotope RX
Favorite game soundscapes
Hunt: Showdown 1896
Warhammer 40k: Darktide
Borderlands 3
Mortal Kombat 1
DOOM Eternal
Battlefield 1
Current Favorite Games
Warhammer 40k: Spacemarine 2
Silent Hill 2 Remake
Warhammer 40k: Darktide
ELDEN RING NIGHTREIGN
HELLDIVERS 2
Killing Floor 3
Role: Sound/Audio Designer
Developer: Game Artists, LLC
“The Dark Heart of Balor” is a dark fantasy hack and slash side scroller, where you play the demon possessed Hunter. Archdemon Balor has opened the Gate of Hell into the human realm and hordes of demons and monsters have flooded into man’s world destroying everything in their path.
Audio Design for Trailer
Audio Design for In-Game Cinematic/Cutscenes
For the “Intro Cinematic” I wanted to get across the feeling of despair, heroism, & hope. This follows the emotional journey that we want the players to experience throughout the game. I managed all dialogue processing, sound design, music, and mix for this cinematic.
For the “Graveyard Cutscene” I focused on the eerie/ethereal aspect to our demonic character voice. This would help create a texture that distinguishes them. To achieve this texture I used a simple trick based on reversing the dialogue and printing some reverb onto the file. Once printed you reverse the file back to normal and you get an eerie/ethereal texture to the dialogue.
Role: Music Supervision & Sound Design Intern
Developer: Splicer Films
“A Divine Journey” profiles a young changemaker, Divine Mugisha, overcoming the challenges of growing up at a refugee camp. Despite her struggles, she dedicates her life to creating change and advocating for human rights. Divine starts Supportive Pillar Organisation, a community cause dedicated to helping youth attend school.
On a mission to address mental health challenges, Divine recognizes she must leave home to pursue her own education so she can better serve her community.
“A Divine Journey: The Trilogy Trailer” is one of the promo videos that I worked on.
I worked on “A Divine Journey Episode 2.” My task was to process dialogue, field sound, music selection, and deliver the final mix. To clean the dialogue I used the iZotope RX 9 suite and became familiar with how I can manipulate these tools to solve a variety of audio issues.
It was fun balancing all the different dialog recordings. We had a team in Africa, and in the United States. Any dialog we received could have come from multiple devices and it was my job to balance all of them
Music selection for the episode was a collaborative process between myself, the director, and consultants. We would do spotting, review, and audience screening sessions to get feedback on how the music contributed to the emotional tone of Divine’s story.