I contribute to the creation of great game worlds by creating great music and sounds.
While fascinated with video games since an early age, it was the lush and vibrant music of the Warcraft and Fable games that captivated me and compelled me to dedicate myself to game music composition. At the same time, I developed a keen interest in sound design, sparked by the crisp and satisfying sounds of modern games. Finally, with the dawn of middleware, I learned to combine both music and sound design in a unified, realistic audio experience that draws players into the game. I currently do so for KeokeN Interactive’s Deliver us the Moon, an atmospheric science-fiction game set in the near future, in which players are tasked with traversing through abandoned lunar facilities in order to retrieve the key to securing the future of humanity.
- FMOD Certified User (FMOD Studio Certification Course – Sound Librarian – 2015)
- Audio for Game Certificate holder (Audio for Games Course – SAE Institute Rotterdam – 2015)
- Master of Arts (Philosophy – University of Leiden (NL) – 2009 – 2013)
- Classical, symphonic and impressionist music.
- Cyber, sci-fi, industrial and synthesized music.
- Linear, dynamic and interactive music.
- Composition, arrangement and conducting.
- Using both MIDI (computer) compositions and live-recorded instruments.
- Dialog recording, editing, processing and mixing.
- Science-fiction firearms, including blaster guns and zap pistols;
- Medieval weaponry, including shields and a variety of one-handed and two-handed weapons (maces, swords, axes etc.).
- Destructibles and debris.
- Spells and special powers or abilities, e.g. fire balls, frosty projectiles and icy explosions, rocky poundings, healing spells and buff abilities such as elemental shields and stat boosts.
- Vehicles, including earthbound cars, rocket machinery and lunar rovers.
- Buildings and structures, e.g. doors, elevators, switches, lights, generators, ventilation and other installations, computers and similar machines.
- Environments and ambiences, e.g. soundscapes containing elements of wind, rain, wildlife, thunder, distant combat, traffic, muffled conversations, parties, machinery and science-fiction sounds.
- Foley, e.g. smacking vaults with metal grids, rolling logs, footsteps on various surfaces, splashing effects and swooshes.
- User interface, e.g. select and confirm options, alerts and notifications.
- Recording sound effects at location, e.g. creeks and waterfalls, rain, outdoor ambiences, tolling bells, crickets at dusk.
- Sound design produced for interactive in-game situations and cutscenes/cinematics.
Audio and game tools
- Various DAW’s, primarily Cubase 7.5, for recording, processing, mixing and mastering audio.
- FMOD, including:
- Simple and complex events;
- Procedural audio;
- Dynamic audio;
- Parameter functionality;
- Effects processing;
- Managing signal chain;
- Unreal Engine 4, including:
- Middleware integration;
- Audio implementation, ranging from simple events to complex events connected to game data.
- Effective communicator and collaborator;
- Aware of role within a large team that, next to core game development, includes marketing, localisation, QA, Esports etc.;
- Works in an organized fashion;
- Quick to adapt to new environments;
- Curious and eager to learn;
- Professional approach;
- Efficient in solo as well as team efforts.