My passion lies with game audio – that magic place where sound design meets code. Over the last few months I started developing a proprietary audio tool at A Shell In The Pit Audio extending the Unity game engine and enabling our sound designers to author and implement interactive audio – the aim always being to evoke emotion, assisting in world building & immediate feedback to the player about his actions in-game.

I love diving into the logic puzzles of game audio to create playback logic that enables complex sound through simple implementation. Another aspect tweaking and finessing of code for CPU performance and memory optimisation. My tools are being used in a variety of games ranging from mobile to Virtual Reality titles (full list here).

I am experienced in Audiokinetic's Wwise, Firelight's Fmod Studio and Tazman-Audio's Fabric middle-ware. I have worked with both the Unity and Unreal game engines. When doing sound design I use the powerful and extendible REAPER Digital Audio Workstation – for composition I use the modular Ableton Live software.

I am also knowledgeable in both the fields of sound design & music composition (including dynamic / reactive music for games) as well as all areas of the film production cycle including Production Sound & ADR Recording, Sound Effects Editing, Sound Design, Foley, Surround-Sound Mixing & final delivery procedures.

Sound Design
Game Audio
Ableton Live FMOD Studio
Pro Tools HD Wwise
iZotope RX Fabric


My sound career started with my a classical training in playing the Clarinet. During high school I discovered my passion for electronic music and after dabbling in DJ-ing I soon started developing my skills in music production and sound design. After working in advertising for two and a half years I began to focus my intentions toward post production for film and television.

My studies at Vancouver Film School introduced me to game audio and I participated in cross-disciplinary collaborations with the game design campus. I also started participating in numerous game jams collaborating with teams to develop fully functional games with limited resources and a harsh deadline. For me the combination of sound design and technical implementation revealed to me my true passion – to craft interactive audio experiences!

When I first arrived in Vancouver the thing that fascinated me the most was the sense of community with in the game development and audio world. Specifically the monthly Full Indie and Vancouver Sound Designers Meetup groups have forged a welcoming environment. Now I am volunteering with FullIndie, mixing and recording talks given at the meet-ups and the annual Full Indie Summit conference. If you are in Vancouver come meet up with us!

Virtual Reality

With the revolutionary development of modern Virtual Reality headsets players have the ability to transcend the screen and step into the game world with a never seen fidelity. The ability to invoke the feeling of "presence" is only achievable with the help of high quality spacialized audio. The auditory system is communicating with the human brain on a much more direct and unfiltered way.

Using this knowledge, I have been working on game projects in Virtual Reality on the HTC Vive and Oculus Rift platform. It is a shockingly different approach to creating experiences. The fact that the listener is physically in the game space (with head and hand tracking in room scale VR) makes being creative in this space extremely rewarding. More on that topic over here.

The problems with spacializing audio and creating a sound field that makes sense with the expectations we have in the real word are a fun and exciting challenge.


I am a big fan of the audio software REAPER by Cockos Inc. This has a couple of reasons:

Efficiency: It runs on an extremely low memory/CPU footprint so I can run it on any machine. It is the most stable environment when working with plugin effects and starts up extremely fast.

Customisation: I can change the layout, define custom actions, optimize menus and even add my own functionality via scripting. This enables me to automate my work flow doing less maintenance and focusing on whats really important. The actual sound design. I gave a demonstration of this work flow for The Reaper Blog.

I have set up a repository of the scripts I have written for Reaper thats available on GitHub and it is fully compatible with the ReaPack package manager available here.