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Games
Deck Builder (WIP) | October 2023 | Sound Designer & Composer
Contributing to the development of this untitled deck builder game has been an amazing experience. At the current stage, my involvement has focused on composing and designing the sound effects. The sound direction for this project aimed to preserve the essence of a tabletop board game while introducing sounds that you might imagine with "theater of the mind" while at the table. As an avid tabletop gamer myself, it was a delight to conceptualize and design sounds inspired by similar gaming experiences. Recently, I had the opportunity to collaborate with the developer on implementing these elements using FMOD. I look forward to updating this segment when the new build is prepared!
Audio Implementation by the developer.
Skyformer (Technical Test) | July 2023 | Sound Designer & Composer
Sound Design
Music
Within a tight timeframe of just a few days and with minimal revisions, I undertook the task of bringing life into the machinery and UI elements of the world. The objective was to design sound with a futuristic essence grounded in reality, steering clear of clichéd and campy sci-fi audio tropes.
During the technical test for Skyformer, I received a trailer featuring prepared sound effects and a directive for crafting modern synth music with clean, undistorted synths. The challenge was to compose a piece that conveyed the inherent danger of the depicted planet while emphasizing the player's ability to harness control and influence over the world.
The ambient music for the desert region was designed to evoke a profound sense of desolation and loneliness. All the player has as company are automated drones in this vast lifeless expanse. I want the player to feel this and desire to bring life to the region.
Unannounced Title | February 2023 | Composition
The WitchMatthew Reed
00:00 / 05:46
After discovering that a company I admire was working on an undisclosed project, I found inspiration in the details available, prompting me to compose a piece tailored to my interpretation of their world. Additionally, I used this opportunity to experiment with voice samplers.
Astro Board| January 2021 - July 2022| Compositions & Programming
As a Sound Designer at Skymark Digital Media, I played a pivotal role in the development of an innovative mobile game that seamlessly melds music with user creativity. During development I encountered a significant design challenge—integrating toggleable LFOs and Envelopes, something the Wwise RTPC framework does not accommodate for. Overcoming this hurdle involved a specific nesting and effect value approach that enabled these elements to work in tandem, separately, or be switched off as needed.
A notable element of my music system is its versatility. With multiple methods of playback It is reusable in several areas of the game to also provide general gameplay music with user created synths. This project reflects not only my technical prowess but also my dedication to bringing audio to players in new and innovative ways.
The Eldritch Circles | Summer 2020| Sound Design & Compositions
The Eldritch Circles is a dark eldritch comedy in which the player is put in the role of an edgy teenager turned the world's most powerful cult leader, embodying our world's last stand against impending doom. This collaborative project with three friends, served as a mutual growth opportunity for us as creators. Although we transitioned to different projects after creating several prototypes, the art we produced stands as a point of pride and growth in our careers.
I composed the game's music using Wwise, with natural randomization, transitions, and loops to enhance the immersive experience. For your convenience, I've provided a recorded version of these dynamic compositions. Gameplay unfolds as players navigate various shops around town, each housing a distinct atmosphere and eccentric character.
Kidgilantes | April 2020 - June 2020 | Sound Design & QA
The soundscape for Kidgilantes was a collaborative effort between Mason Taylor and me. My role involved crafting sound effects aligned with the stylized world and providing guidance to Mason for composing adaptive tracks to enhance Kidgilantes' music and game feel.
A deliberate sound design choice guided my process—I exclusively used sounds that I recorded and edited myself. This commitment ensured that each sound in Kidgilantes was specially crafted, contributing to a stylized experience. This decision also served as a challenge, pushing me, as an early sound designer, to think more abstractly about sound, enhancing elements of a sound effect from unexpected places.
Music By Mason Taylor.
Seamless | January 2020 - June 2020 | Sound Design & QA
The sound effects in Seamless were crafted to enhance the fast-paced, samurai-style combat. Collaborating with professional shamisen player Kyle Abbott, we worked on dynamic compositions to authentically capture the game's tone. This collaboration served as my first endeavor in studio-style recording, offering a valuable learning experience. I chose to record and edit all sounds for this project myself, opting to use no sample packs to challenge myself in creating tonally accurate sounds from scratch.
Shamisen performed by by Kyle Abbott
Robits | Fall 2018 | Sound Design & Compositions
In my role as a sound designer for the Robits prototype, I composed multiple music tracks and designed about a dozen sound effects. These elements laid the groundwork for the team's composer in the later stages of development. This project marked my initial dive into a Digital Audio Workstation (DAW) and ignited a passion for delving into the depths of audio engineering and sound design, setting the course for my ongoing learning journey in the field.
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