Original patches, synth textures and composition.
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This patch was created from scratch on the ASM Hydrasynth with clever use of LFOs and oscillators. It’s played as if to accompany an alien funeral, but it could fit just as easily as a forcefield layer.
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An exercise in showcasing many original synth textures I made. It includes samples I recorded and turned into percussive instruments, including metals stimulated at a park. My favorite sound is the Vital patch I made. It’s the last element that sends the piece off.
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Imagine the Seven Hour War has begun, and you’ve just been thrust into combat with Combine synth soldiers—squid-like humanoids that seek complete mission success. Meanwhile, humans feel complete malice, expressed through oppressive and rageful synthesis. It is kill or be killed, and the odds are nothing short of hateful.
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Vector Error is partially an homage to “Our Resurrected Teleport,” filling the same function in Kleiner’s Lab during the events of Half-Life 2’s alpha. I recorded it using a heavily tweaked preset on the Korg Prologue 8 in 2018/2019, in my dorm at Rochester College. I plugged the synth into a Mesa/Boogie DC-5 amp and recorded it with a cell phone against the grille. It’s got a Lo-Fi, dirty, dark quality to it.
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High Pressure was designed with heavy preset modifications in the Viper VST by Adam Szabo. This track has my signature, highly percussive and heavy drums. It’s a perfect fit for the Half-Life universe and was created to describe the Air Exchange reactor to the player upon entering.
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This mixtape is a showcase of a bunch of genres I can compose in and another example of my use of original synth textures. I think only the synth strings at the beginning were a Hydrasynth factory patch. The rest were original patches I made.
320 kbps listening copies · Original WAVs: 24-bit / 48 kHz
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Original WAV ↗01 / Implementation / Coursework / portfolio project
Sound design, music composition, voice performance and audio implementation
A two-minute playthrough of a science-fiction stealth level: doors, laser hazards, android encounters and the key-card route to the freight elevator. Repeated door approaches give the voice line and individual sounds room to register.
I designed and recorded the replacement sound effects, composed the music, performed the “Access denied” voice line, and integrated the audio. I used FMOD horizontal resequencing to move from stealth music into action.
Telefunken TF-39 Copperhead Deluxe; Converse All-Stars on tile, a sliding shower door for the doors and bacon in a skillet for the nearby laser.
FMOD horizontal resequencing moves the score from stealth to action. I performed the “Access denied” voice line.
I built physical texture into the science-fiction sounds. A close recording of bacon hitting a hot skillet gives the nearby laser its dangerous, crackling heat; a sliding shower door forms the primary layer of the opening doors. For the footsteps, I recorded Converse All-Star sneakers on tile with Primacoustic panels controlling room reflections. The score draws on the atmosphere I love in Metroid Prime, Doom 3, Half-Life 2 and Unreal Tournament 2004. By the end, I felt the sound, music and visuals came together as a cohesive whole.
The score changes from stealth to action through horizontal resequencing in FMOD. The video shows the sounds in their gameplay context rather than as an isolated sound-effects reel.
Created for a Berklee Online class taught by Nick Gallant. Based on the Unity Stealth project; its gameplay environment and visual framework provide the context for my audio replacement.
Windows build ZIP · about 1.1 GB. Extract the folder before running Stealth.exe. Hosted on Google Drive.
02 / Implementation / Coursework / portfolio project
Original sound recording, weapon sound design and Wwise / Unreal Engine audio implementation
A weapon-audio breakdown combining gameplay with Wwise, Unreal Blueprints and animation-sync views: assault rifle, pump shotgun, bolt action, heavy pistol, pistol, grenade handling and knife swings.
I recorded and designed the featured weapon sounds in REAPER, assembled their layers and events in Wwise, and connected them to gameplay and the supplied animations in Unreal Engine.
Recorded with a DPA 4015A and Mojave MA-1000 through the Rupert Neve Designs Dual Shelford preamp (RND 5025). Edited and layered in REAPER.
Separate firing, standard reload and empty reload events; layered reports, Blueprint assignments and AkEvents timed to the supplied animations.
I shaped firing reports with separate attack and decay layers and edited individual mechanical recordings for reloads. DPA 4015A recordings supply bolt-open, ejection and bolt-close sounds. My Walther PDP was a recording source for magazine removal, magazine insertion and slide release; it is not the name of the on-screen pistol. The recording setup included the DPA 4015A, Mojave MA-1000 and Rupert Neve Designs Dual Shelford preamp (RND 5025), with REAPER as the DAW.
I separated firing, standard reload and empty reload events in Wwise. In Unreal Engine I assigned Rifle_Fire_Loud to Fire Sound and placed AkEvent sound notifies against the supplied animations. Individual cues follow shell inserts, pump-back and pump-forward motions, bolt cycles, and the final hand movements of reloads. Grenade pin pulls and throws have separate cues; my recorded knife swings have a dedicated Wwise event.
Audio implementation and sound design portfolio project using Multiplayer FPS Kit V1. The gameplay systems, weapon models and animations are supplied by the kit; my work is the audio and its integration. Grenade explosions and player-hit sounds are not my work. The reel omits the grenade explosion audio.
03 / Implementation / Coursework / portfolio project
Music composition, sound design, voice performance and Wwise integration in Unity
Created for a class taught by Spencer Bambrick, this Unity gameplay demonstration shows an adaptive score that changes between playthroughs and responds to the player’s health and remaining time.
I composed the score in Nuendo and created 24 variations of each musical movement. I designed the sound effects, voiced the animals and player character, and integrated the audio into the Nightmares Unity project using Wwise.
Composed in Nuendo with 24 variations per musical movement. Marimba adds a childlike, faintly ghostly timbre.
Randomized vertical remixing, blend containers, and RTPC cues for low health and the countdown, joined by a designed riser.
I wrote several versions of the musical sections so their layers could be recombined at random. I chose marimba for its hollow, childlike and faintly ghostly timbre; Donkey Kong 64 first drew me to that sound. I also performed the animal and player voices heard in the demonstration.
In Unity, I used Wwise to assemble the score for randomized vertical remixing. Blend containers provide additional randomization. One RTPC introduces a separate music layer when the character is low on health. Another RTPC triggers a new music cue as time runs out; a riser I designed smooths the move into that cue.
Created for a class taught by Spencer Bambrick using the Nightmares Unity project. The game environment and visual framework provide the context for my original audio work and Wwise implementation.
Playable ZIP for macOS and Windows. Extract the archive and launch the version for your platform. Hosted on Google Drive.
04 / Sound design / Personal redesign
Complete sound replacement, ambient music, selected voice performance and field recording
A complete sound redesign to picture. Physical recordings give Joel’s movement and the flooded street a tangible sense of weight, distance and place.
I replaced the audio across this linear gameplay sequence, including the sound effects, swamp ambience, ambient music and selected character effort grunts. I recorded and performed the source material described below.
Shoes against a heat pump for bus steps; a Mojave MA-1000 over water and a soaked towel for footsteps and the sinking vehicle.
The complete linear replacement brings together sound effects, swamp and frog ambience, ambient music and my effort grunts.
For Joel’s steps on the bus, I lay on my back and stepped in shoes against the side of a heat pump. To make the water footsteps, I placed a Mojave MA-1000 above a tub of water and a wet bath towel. The soaked towel also yielded a bubbling, mudlike sound when Joel steps onto the vehicle, suggesting it sinks further into the water.
I built a swamp bed and placed individual frog recordings across the scene. Rushing air follows Joel when he runs outside; I also performed his effort grunts. I completed the entire replacement in FL Studio, editing the effects, voice and ambient music to the fixed picture.
Personal audio redesign of gameplay footage from The Last of Us. The game, characters, visuals and footage are the work of their respective creators; the replacement audio and selected voice performance described here are mine.
BEHIND THE SOUND
My work begins with listening: recording distinctive real-world sources, shaping them into original effects, and thinking about how they respond to a player. I also bring experience in music composition, voice acting and Faceposer choreography.
Berklee College of Music · Bachelor of Music in Electronic Music Production and Sound Design · 2026 · Magna cum laude. Rochester College · Bachelor of Science in Worship Ministry · 2020 · Magna cum laude.
Contributions across these game and mod projects include sound design, music composition and Faceposer choreography. Individual clips identify my specific role.
Voice performance: Sane in Silence · Chaos Theory
Avid Certified User — Pro Tools
Earned through Berklee Online
LET’S TALK GAME AUDIO
Interested in U.S.-based game-audio opportunities.
Ashland, Ohio · Eastern Time (ET)