An example of interactive music showing how it's written (and triggered) in layers that fade seamlessly between one another based on in-game actions and parameters, such as intensity (low. med. high etc). For an in-game example where various music types with their own multiple layers transition between one another using different time signatures while playing alongside a weapons fight with a large alien creature please watch the video in the Services page beneath the Custom SFX heading.
A sample of my sound effect work for our FPS strategy video game Lemnis Gate (Ratloop Games, publisher Frontier Foundry). These are gameplay battle sequences. The focus is meant to be on the designs of the audio elements (weapons 1st and 3rd person, explosions, abilities, VO, environmental objects etc) as well as the clarity and overall feel of the environment in battle. I also directed the voice actors remotely in conjunction with the game director and the game's needs.
This video is a quick scored music collage but I also create and design custom sound effects, implement them using game middleware, and I voice act and direct voice actors. Throughout the site there's numerous videos of audio, gameplay and film footage, previous work projects and trailers, tutorials and more.
Sound design - creation and mix of all sound effects, music and dialogue. This example is my sound effect work, end music, and my voice acting for the lead character Rock Gunnar in Tuatara Games and publisher Versus Evil game Let Them Come. Listen to the small details, the clarity and then of course the overall design of all the sound effects. Audio is a strange thing as it is quite subliminal for the most part. We notice what we see, we feel what we hear.
Scoring to film - also includes cut scenes, animation or any linear media. It's written following a storyline from start to finish. There's many dynamics, tempos and emotions that need to be expressed as it does this.
Synthesis and modular software - this is where things can get interesting, and music scores can be written using this method. You create tones, patterns, percussive lines and many more (simplified definition) from a voltage, which is then manipulated by another voltage and then another until you have many layered and weaving patterns.
Interactive game music - layered music is written for randomized in-game events, and then implemented into a middleware program (Wwise) which is then integrated into the game engine. Some cues are layered loops, others cut scene synced cues, others are one-shots that play and also stop other music from playing. The possibilities are extensive ultimately leaving every gameplay experience with different variations of music being triggered.
Custom made synth patches - used for dark (sometimes the opposite) underscoring as part of a musical soundtrack. They start off as only a waveform, from there they're twisted, contorted and designed. After they're designed they're played like an instrument and then tailored to the imagery and the project's storyline.
Subtle ambient music that can lead into a theme - picture something like a Netflix series with beautiful visuals and intricate sound design for the opening credits. You may want something subtle that compliments them gently and then leads into a theme for the title's shot, which after could then trail off into the opening scene.