Portfolio
Below is a selection of videos showcasing the various parts of game audio I have been a part of. From sound design, voice over production, ambience and systems.
This video highlights a selection of player abilities I had the opportunity to design for The Elder Scrolls Online. Featured here are several Templar and Nightblade abilities, along with a look at the Psijic skill line.
With so many distinct player classes, it’s crucial that each one has a unique sonic identity that reflects its character and power. First you will hear the "rewind" ability from the universal Psijic skill line. Then you will hear some class abilities. Templars channel light, expressed through bright, piercing sounds that cut through the mix, while Nightblades draw on darker, shadow magic with a more sinister tone.
In a game where players can spend countless hours exploring, ambience is one of the most powerful tools for bringing a world to life.
This video highlights the ambience design and setup I created for Wrothgar, a rugged, snow covered mountain region in The Elder Scrolls Online. Growing up in New England, I experienced plenty of snow days, and one thing that always stuck with me was the contrast between day and night during a storm. During the day, everything feels alive and noisy. Snow plows rumbling by, snow blowers running, televisions humming inside. But at night, there’s this profound calm. The world goes still. You can hear the wind push snow across open fields, and occasionally, the snap of a branch under the weight of fresh powder.
That feeling was something I wanted to capture here. The ambience shifts throughout the day: in daylight, the forest hums with life. Birds, wind, and a thick, layered sound bed. As night falls, everything quiets down. The birds disappear, the base ambience thins, and distant cracks of ice and wood take over. You’ll also notice how the sound changes as the player moves along the water’s edge adding subtle variations to keep the environment feeling dynamic and alive.
Ultimately, our goal is for players to live in the world . To feel like they’re truly there. Ambience is how we make that happen. It’s what gives each space its own breath and personality, making the world feel alive, unique, and ever changing.
In a world like The Elder Scrolls Online, magic and mystical architecture are woven into every corner of the player’s experience, they’re not just background elements, they’re essential to the storytelling.
This video highlights a range of sound design work I contributed across various categories: from playful player emotes like beating up some combat dummies, to portals opening up above the player, eating bread and being possessed, to Dwemer bosses calling in reinforcements.
I always try to have my sounds be part of and tell a story to the player.
This video is a re-design of several weapons from Apex Legends. To create the sounds, I organized and ran a three-day gun recording session in Idaho, capturing everything from rifles, pistols, machine guns, grenade launcher, flame throwers to bullet impacts and explosions.
I collaborated closely with the armorer to choose a diverse set of weapons, making sure we recorded a wide range of characteristics and details. Those raw recordings became the foundation for the weapon SFX you hear in this demo.
The video showcases how I transformed those recordings through editing, layering, and processing, turning them into powerful, distinct, and satisfying weapon sounds that feel fun to shoot in-game.
Voice Over Post Production (VOPP) plays a crucial role in making characters feel immersive and believable. In this video, I showcase a range of VOPP work I’ve done to help bring characters to life. From a broken Factotum to a fully repaired one, a magical recorded message, intimate conversations inside a hut, and even a Daedric god speaking through a possessed character.
Each moment is crafted to enhance storytelling and deepen the player's connection to the world and its characters.
If you would like to see me do a quick talk on how I created the Factotum VOPP you can check out a panel I was on at Magfest 2018 here
One of the great parts of being in the ZeniMax family is the opportunity to contribute to other projects across the studios.
In this video, you’ll first see behind-the-scenes footage of the sounds in engine, followed by in-game implementation from Fallout 4, where I had the chance to design SFX for several "final blow" moments. My goal was to make them feel visceral and brutal, capturing the raw impact of each hit, from the slicing of flesh to the tearing of bone.
A showcase of one of the many bosses I designed for The Elder Scrolls Online, the final encounter in one of the game's earliest trials.
Designing for trials meant accounting for up to 12 players in a single encounter, creating a chaotic mix of visuals and sound. To ensure clarity, I focused on crafting impactful audio cues that could cut through the noise and highlight critical abilities without overwhelming the mix.
Some of my favorite elements to design are the ambient animated fixtures scattered throughout the world—subtle details that often go unnoticed, but play a crucial role in immersing the player.
These sounds help create a living, breathing environment. I used a combination of detailed foley recordings and careful mixing to make them feel authentic without becoming distracting. They're not meant to stand out, but you'd miss them if they weren't there.
Commander Keen was a mobile title developed by our studio, and I had the opportunity to design the in-game sounds as well as handle the mix and sound design for its E3 announcement trailer.
The trailer aimed for a playful, Saturday morning cartoon vibe, something bright and energetic. This project was especially fun to work on, as it marked a major stylistic shift from the world of Elder Scrolls and gave me the chance to explore a lighter, more animated sound palette and stretch my creative range.
This is a small experimental game I developed using Unreal Engine and MetaSounds, centered around dynamic music interaction. My goal was to create a game where the music responds to gameplay, and gameplay responds to the music.
Players are locked in a series of rooms, and to progress, they must find fragments of a song hidden in the environment. As each piece is discovered, it begins to play, triggering synchronized lighting effects that react in real time to the music. Once the music fragment is found, the door unlocks, and the player moves on to the next room, revealing a new part of the track.
All audio was generated from scratch using MetaSounds, relying solely on sine waves and noise generators. This project was a personal challenge to step beyond traditional audio design and explore what I could do in game design and musical interactivity.
This 2007 Emmy nomination recognized my live sound mix for a performance by Jonah Smith—one of the first artists I had the pleasure of working with during my time as an audio engineer at CN8.
My goal was to capture the energy of a live performance while delivering the clarity and balance of a studio mix. I was especially proud of the result. You can hear the subtle sizzle of the ride cymbal, the smooth blend of bass and guitar, and the way Jonah’s vocals sit cleanly above the mix, driving the performance forward.