The video opens with a sound paintover for Warlock's game trailer. I chose this piece because it had a great balance of abstract visuals which allowed me to do some fun stuff and unique magic visuals to design around.
Next, a set of non-traditional weapon designs. I wanted to showcase a single fire, a beam, and full auto weapons. The first being inspired by telemetry, the beam with some hefty burning sounds and an odd plunger-y automatic weapon.
Super Strike Trailer — Casting director for the 3 VO actors in the trailer, worked with Warner Music Group to source an artist and producer to create an original theme song, as well as designed the SFX. Audio Lead on the game itself.
Super Rumble VR — Audio Lead on the project, fast paced arcade shooter.
First Steps — Designed all SFX in this opening cinematic experience. Music was recorded at Ocean Way Studios, TN. All sounds implemented by me, fully spatialized including music.
I gave myself a challenge: build a complete game in 4 weeks, from scratch, on an engine I have never used before, with zero engineering background. Saturday Night Outbreak is the result — a rhythm-action game blending Vampire Survivors, DDR, and Tetris Effect, built entirely solo with AI assistance. I designed and implemented a full MIDI-to-JSON cue pipeline, integrated Wwise end-to-end, and shipped a complete gameplay loop. This project changed how I think about what an audio designer can own.
Want to try it yourself? Download here — Windows only, keyboard and controller supported. No install required, just run the .exe!
Here is a short compilation of some additional work I've done on older gen console and PC. You will see scenes that go back and forth between the games Shadow of War and Halo 5 Guardians.
Shadow of War — My responsibilities included owning the DLC characters and Nazgul characters' full movesets, which includes melee and ranged attacks, special abilities, and all animations. I also owned a section of the VO scripting logic such as combat barks, cinematics, and beyond.
Halo 5 — Owned the environment design which includes implementing the weapon tails system, all world functional doors, puzzles, interactables, and large scale vignette design. Here you'll get a small peek at some of the near field vs distant vs ship fly by environment sounds as well as some Wwise blend container work on damage scaling interactables.
I'm an Audio Lead and Senior Sound Designer based in the Seattle, WA area with over 15 years of experience in game audio. Most recently, I spent six years at Meta / Oculus Studios, leading audio on several titles and experiences within their AR/VR game portfolio.
I've shipped multiple AAA, VR, and mobile titles across projects of every scale — from leading audio vision and pre-production planning, to voice actor directing, collaborating with internal and external composers, managing and mentoring junior designers, and launch trailer sound design. My toolkit includes industry-standard middleware like Wwise and FMOD, and engines including Unreal, Unity, Havok, Firebird, and Horizon OS.