Experienced in composing for both nonlinear and linear visual media.
I enjoy combining electronic and acoustic instrumentation and adapting to different styles.
I have written a paper on the difference between composing for films and for games: Composing for Games as a Film Composer
Experienced in both synthesis/processing and (studio) foley for game audio. For generated sounds I often use Massive (X), because of their amazing routing functionalities and noise profiles. I also enjoy experimenting with Max MSP and Pure Data to mainly design procedural audio.
Audio-plugins, standalone applications and (software for) game audio. I mainly develop in C++ and C#, but am also experienced with other languages.
Experienced designing, developing and implementing nonlinear gameaudiosystems. Eperienced with mainstream middleware (FMOD, Wwise), but also using native code. Currently, I am developing tools meant to upgrade the designing process of nonlinear audio systems, called NADT.
During an internship at audiosoftware company Audio Ease, I developed TransitionFX. A synthesiser optimised for creating certain effects often used in media composition/sound design such as: risers, whooshes, stings, etc.
Sonifying data, such as in this Max MSP project that sonfies elementary cellular automation rule 150. Created in collaboration with Danae Dekker. The algorithm analyses data in horizontal lines to generate lines of music.
I am very interested in the relation between visuals and audio, which I often work with in my work as composer and sound designer. Musart is a project that allows the user to draw freely to then generate live audio based on the drawing.
The image shows a tool to help teaching children how to sing by transposing pop songs, created for the Marnix Acadamy in may 2019. This tool has been made with media audio network Ocarime. Another tool we created during this time is a game to test hearing for the Leiden University Medical Center.