Showcasing my previous work in Sound Design across a number of genres and styles. 

Showcased work includes:

• Valorant, Action Cinematic re-design

• Magic VFX Sound re-design

• Resident Evil 4 (2023), Guns, monster re-design

• Call of Duty: Modern Warfare 2 (2022), Cinematic + Gameplay re-design

• Eve Online, Cinematic re-design

All sound design in Reaper, with elements made using VCV rack, foley and field recordings. Techniques range from foley to plugins and spectral editing. 

A short video demonstration of a unique system I created for synchronising combat animations with dynamic music on the fly, created in Unreal Engine 5 using Blueprints and Wwise middleware. 

The system uses callbacks from Wwise into Unreal Engine to calculate animation speeds for perfect synchronisation to tempo, tackling the long-standing issue of latency between music and on-screen events in games. 

More in-depth video coming soon!

This music system, created in Wwise, makes use of randomized sub-tracks and layering using RTPCs in conjunction with Game States, to smoothly transition between exploration and combat music, as well as between different forms of exploration in the overworld and dynamically alter the mix of combat according to the number of enemies present. 

The result is a system that responds effectively to in-game events while maintaining a musically appropriate feel throughout.

In this video I go in-depth on the approach I've used to implement audio into a level in the Unreal Engine, using metasounds, ambient zones and conditional dialogue for this dystopian futuristic level. 

A lot of emphasis is placed on the ambient sound design, which uses metasounds to create an effective soundscape through randomized sample playback and pitch.

This video showcases 'Sound Spheres', a sound toy which feeds physics data from MaxMSP's Jit and Jit.phys function libraries to control the loudness, mixing, and EQ of collision sounds. Each collision sound is made up of five layers, and the loudness of each layer is connected to the strength of the collision between physics objects, similar to RTPCs in middleware solutions.

An entertaining University project which taught me a lot about the value non-audio centric systems can bring to sound design!

In this video I demonstrate my process of editing, mixing and mastering dialogue, ready for implementation for an Elder Scrolls fan project.

Spectral editing is used within Reaper, as well as compression and EQ, to produce a single track of best performed lines from 3 takes, with consistent levels able to compete with other in-game sounds.