SOUND DESIGN
My ‘Audio Design Showcase’ features sound effects I created during the 2020 Tranzfuser Competition for a game called ‘Interstice.’ I implemented some of my sounds with FMOD in order to experiment with effects like 3D audio occlusion. The showcase also features the sound effects I created for ‘Maestro’; a rhythm-based combat game.
Beneath my audio design portfolio is a short video showcasing sound effects I created for a freelance sound design job in 2021. For this project I had a week and a half to create around 40 unique sound effects, ranging from sword clashes to windmill ambience. The project was an invaluable opportunity for me to practise time management and professionalism.
ORIGINAL MUSIC FOR GAMES
To the left is a playlist of my work from ‘Interstice,’ ‘Maestro’ and ‘Bloodrite.’ For each of these tracks, I practised all the parts I composed and performed them largely in single takes to add human touch. That’s what I try to aim for with my music: a level of care and attention to detail.
Below is a free ambient music pack for fantasy games. I challenged myself to produce five tracks under some time pressure. The entire project, from demoing to uploading the finished project, was completed in under two months.
These two tracks are taken from the soundtrack I composed for ‘Mad Chess.’ For the ‘Vampires’ theme I very much enjoyed purposefully looking for the most pleasantly dissonant intervals and extensions in each chord.
Below you’ll find the main theme I composed for ‘The Little Green Mage.’ I made use of Best Services ‘Celtic Era’ VST to create the sound world.
VIDEO GAME MUSIC COVERS/ARRANGEMENTS
These arrangements were a way for me to explore and analyse some of my favourite video game music. I began these projects by transcribing the original tracks by ear, and notating them within my DAW. I then rearranged and re-harmonised the music using concepts from jazz, such as secondary dominant motion.
After arranging came rehearsing, recording, editing, mixing, and finally mastering. The ‘Chrono Trigger Medley’ in particular was a large and complicated undertaking. It’s through projects such as these that I continue to refine my workflow and find new ways of optimising the production of audio.
SOLO MUSIC
During my time studying music technology at Falmouth university I wrote and produced two solo albums. They combine elements of classical, jazz, ambient and folk. It was through making these albums that I now have a comprehensive understanding of the process of making music, from its inception in the demoing phase, to its completion in the mastering phase.
My first album, ‘Send My Love to Xixazikal,’ took nearly two years to complete, and was full of so many setbacks. But now that I’ve gone through that process, I know where all the obstacles are and how to avoid them. For me composing music comes incredibly naturally now, and I’ve almost never had writer’s block since.