Experienced in both non-linear and linear visual media. Game audio has been my main focus for the last few years. It allows combining my passion for systems design with audio design and I find the added context of interaction very interesting to work with.
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 synthesis I mainly use Massive (X), because of their amazing routing functionalities and noise profiles.
I love creating dynamic modular systems to bring the audio to life in its world. I often use middleware such as FMOD for implementation.
Audio-plugins, standalone applications and (software for) game audio implementation.
I mainly develop in C++ and C*, but am also experienced with other languages.
Experienced designing, developing and implementing non-linear game audio systems. For which I am experienced with mainstream middleware (FMOD, Wwise) and game engines (UE4, Unity).
Currently I am developing a 'non-linear game audio design' tool called
using the FMOD low level API, for my thesis at HKU.
During an internship at audiosoftware company Audio Ease, I developed TransitionFX.
TransitionFX is a synthesiser optimalised for creating certain effects often used in media composition/sound design such as: risers, whooshes, stings, etc.
Sonifying data, such as this project in MAX MSP that sonfies elementary cellular automaton rule 150.
Created in collaboration with
The algorithm analyses data in horizontal lines to generate lines of music.
Visuals to Audio
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 like in programs such as Paint.
Based on the visuals, the application then generates audio using samples and synthesis.
Music & Technology, University of the Arts Utrecht