I am an in-house audio specialist. This means that after some years as a music artist followed by some years as a game music composer, I began in 1998 to work in-house on developing the audio component of the software products we call “games”. Not counting contract clients, I have worked in-house at Crystal Dynamics, Electronic Arts, Slipgate/Gazillion, Nihilistic Software, kixeye and Machine Zone. I have worked on a number of games including the following, in reverse order:

– CrystalBorne
– Ori And The Will Of The Wisps
– The Last Of Us 2
– Defend The Cake
– Puzzle Raiders
– Backyard Monsters: kixeye: audio director
– Call Of Duty: Black Ops: Declassified, Activision/NSI: sole audio lead
– Resistance: Burning Skies, Sony/NSI: sole audio lead
– Playstation Move Heroes, Sony/NSI: sole audio lead
– Project Redwood, Gazillion Entertainment: audio director
– Death Jr. DS: Science Fair of Doom, Backbone Entertainment: SFX design
– FlipSwap Safari: Bigtime Games: music composition, SFX design
– Death Jr. 2: Backbone Entertainment: music composition, cinematic sound beds
– Secret Project: Mobicore, lead music composer
– The Godfather: Electronic Arts: SFX design and implementation
– Death Jr., Backbone Entertainment: SFX design
– Snowblind, Crystal Dynamics: composer
– Legacy of Kain: Defiance, Crystal Dynamics: streaming soundscapes
– Whiplash, Crystal Dynamics: lead composer, lead SFX designer
– Blood Omen 2, Crystal Dynamics: cinematic scoring
– Soul Reaver 2, Crystal Dynamics: lead composer, lead SFX designer
– Soul Reaver, Crystal Dynamics: lead composer, lead SFX designer
– Gex 2, Crystal Dynamics: Music composition
– Gex, Crystal Dynamics: Music composition
– BALLZ3DO, PF Magic: SFX design and music composition
– Nightmare Circus, Sega: SFX design and music composition
– X-Men 2, Headgames/Sega: Music composition

Honestly my most-important tool is Ultra-Edit. This is where the deep details of the listening experience are crafted. (The interface between the game and the audio engine) I also like Sound Forge / Vegas, FMOD, Logic, BaseHead and Reaper.

Re: position: I like being the audio lead/director because then I can work closely with the programmers to create the audio tech. Again, this something which defines the player’s listening experience, and so I feel it is where the most important work is done.

Platform expertise

Windows PC
iOs
PS3
Xbox 360
PS Vita
PSP
Xbox
PS2
PS1
3DO
SeGa Genesis

Specialties: Full-game mixing
Realism in sound design
Generative/Adaptive music
Music Direction; translating director-speak to composer-speak