Projects


Battlefield Hardline
17 March 2015

Battlefield Hardline from Electronic Arts
Battlefield Hardline, from Electronic Arts

"Battlefield has a history of looking and sounding excellent, and Hardline continues the tradition"

-IGN



Battlefield Hardline from Electronic Arts

Dead Space 3
5 February 2013

"great voice performances, top-notch sound effects, and a fittingly freaky soundtrack"

-PSX Extreme

"sound effects and music join to make a deliciously sensational experience all around"

-Impulse Gamer

"the score and sound effects are again perfect"

-Aus Gamers


Tower Wars
14 August 2012






WARP
13 March 2012


WARP
is a puzzle-based action stealth game developed by Trapdoor, Inc. and published by EA.

I contributed sound design for two dozen cinematic sequences, created and implemented a large selection of ambiences, edited and processed all the game's final dialog, implemented the main character's soundset in-engine, and helped refine the game's final mix.




Audible Images also put together a team. I managed these resources - character sound design coming from Wabi Sabi Sound in Berkeley, CA, music and additional cinematics coming from Robb Mills in Eugene, OR - from my base in San Mateo, all while syncing builds and checking in-engine assets directly into Trapdoor's systems in Montreal. A truly distributed production.

"From the foreign, quirky noises your short alien utters, to the convincing machine-centric ambience of the laboratories, all the sounds match the slick, cartoony visuals."

-Inside Gaming

"...just the right touch of environmental effects, and...Zero makes these cute E.T.-style alien noises as he hobbles along"

-Game Chronicles

"Zero is quirky and sounds like a cross between the Hamburglar and the minions from the movie Despicable Me."

-ZTGD


  Shank 2 Launch Trailer

Shank 2
8 February 2012


I contributed sound effects design for combat and "epic moments" (mostly big environmental hazards) "Sound effects are appropriately gut-wrenching."
- PSX Extreme
in Shank 2, and collaborated with Klei's internal audio team on strategies and priorities for audio polish in the final weeks of production. Audible Images can serve as "another set of ears," with an experienced sense of how to close a game out on time and at the highest quality possible.

Click for more about Shank 2...

Dead Space 2
25 January 2011

I had the great opportunity to Audio Direct Dead Space 2 at Visceral Games Redwood Shores, leading the outstanding in-house team of sound designers and audio implementers as well as bringing on multiple outside contractors including Wabi Sabi Sound, Skywalker Sound, Harmony Machine, composers Jason Graves and Robb Mills, and a number of others.

The Sounds of Dead Space 2 Featurette

The goal for Dead Space 2's audio was to build upon the amazing work done in the first game - expand what worked well, fix what didn't, and innovate to create a unique voice within the franchise. And of course, to scare the living hell out of the player.

...horror through stillness and quiet; the familiar turned twisted and grotesque.
...horror through helplessness,
crushing intensity, and chaos.
...horror through surprise, disgust, and panic.

Click for more about Dead Space 2...

Dante's Inferno
9 February 2010

Dante's Inferno utilized the adaptive music system I had created for The Godfather II. Though Inferno was developed by a different team at Visceral, I provided ongoing support for the music system's Lua scripts, including adding custom new functionality like sophisticated "layer mixing" and seamless pre-scripted sequencing.




I also jumped in to help manage Inferno's cinematics audio pipeline in the final weeks of production, offloading this work from the game's Audio Director. I worked with the animation team, the sound designers, dialog editors, and Audio Director to get the right version of all the elements into the game, I conformed the ADR, and I set up the processing and mixes.

The Godfather II
7 April 2009


Taking over as the franchise Audio Director for The Godfather in time to port the first game to Playstation 3 and Wii, I hit the ground running learning an unfamiliar game, an unfamiliar engine, and two unfamiliar platforms. In a very short time my tiny - but very talented - team got it done, refining the mix and adaptive music implementation along the way. The Wii's "Blackhand Edition" went on to become the best reviewed release of The Godfather: The Game.

Godfather II Dev Diary: Music


Godfather II is a big open-world game. The soundscape would include car radios, jukeboxes, and street performers. But the team also wanted it to feel fully scored in a more traditional "cinematic" style.

With the change to Visceral's next-gen engine for Godfather II, the adaptive music system was deprecated. In order to implement music in the new game, I designed a new system and then coded it myself in Lua, the game's scripting language. This was a full-featured adaptive music system which would later be incorporated into Dante's Inferno and eventually standardized as Visceral's in-house music system. Even at this stage, it featured marker-based transitions, logic branching, latency-free transition "covers," pre-roll, a highly abstracted and parameterized data definition, lightweight communications overhead, and optimized performance.

This system was then setup to work in conjunction with the "diagetic" music systems - the car radio and "worldized" music scripts - and a very involved prioritization mechanism was established to hand off between them at runtime based on the game state.


"Behind the Music of The Godfather II" is a nice interview with Christopher Lennertz, the composer brought on to compose the original score to Godfather II. Lennertz really "got" "The game's original instrumental soundtrack, composed by Christopher Lennertz, is truly an achievement and period-perfect. Artistically, it's the only thing pulling its weight in this game." -Kotaku.comwhat the team was going for and did a tremendous job working and reworking the iconic material from the original Godfather score to suit the game.


Expanding the soundtrack

In a game as large and open-ended as Godfather II, there's almost no way to compose and record enough music to feel like a full underscore is present, at least not without a truly inordinate budget. So Lennertz wrote in a kind of "modular" style, tracked stems, and I took it all back to the office and edited together new cues.

Here's an example from the Queens, NY area of the game. The "action" cue is an excerpt from the original, fully orchestrated piece: from that fully-orchestrated cue I derived the "mood," "tension," and "shuffle" cues.

The original cue...

Queens Action Excerpt   >>

...and its variations

>> Queens Mood

>> Queens Tension

>> Queens Shuffle

Click for more about Godfather II...

Lord of the Rings: The Two Towers

Lord of the Rings: The Two Towers

For this blockbuster title, I designed an all-new marker-based adaptive music system that allowed - unusual in 2001 - arbitrary access to any cue on the disc from a sophisticated scripting system. This provided the foundation to implement Howard Shore's soundtrack in a truly adaptive way. Read more about the approach in this interview with Music4Games as well as in this article on Gamasutra.

The following clips show the adaptive music system at work; the score follows the action of the game closely, no matter how the player approaches the setups.

Lord of the Rings: The Two Towers, 2002
   
Lord of the Rings: The Two Towers, 2002

  Reviews

Blood Wake

Blood Wake

Blood Wake is a water-based combat game that takes place in a highly fictionalized South China Sea. Robb Mills and I composed the music to be edgy, electronic, with a touch of Asian influence. Below are four excerpts of cues I wrote (Robb plays guitar on "Rock the Boat").

Note that "Rendezvous" was featured in the national TV spot advertising the game.

Rendezvous

Escort Service

Rock the Boat

Up the River

Demon Stone

Demon Stone

Stormfront's followup to The Two Towers was nowhere near the commercial success its predecessor was, but it did earn BAFTA nominations for Best Audio and Best Original Music in 2004. The team and I further developed the music system from Two Towers, and Robb Mills composed a soundtrack purpose-built for this adaptive approach.

In the following clips, I edited Robb's score to create a new "Nesme Troll" theme, then handled the implementation. I also designed and implemented the dialog system, which created randomized versions of many interactions for variety and replayablity.

Demon Stone, 2004
   
Demon Stone, 2004

  Reviews

Pool of Radiance

Pool of Radiance: The Ruins of Myth Drannor

I composed dozens of cues for this turn-based RPG. Instead of trying to score the game in a "cinematic" style, I chose to create a series of approx. 1 minute cues that would introduce or highlight key areas or moments in the game. With over 100 hours of game time, this allowed for a good variety of evocative material that wouldn't get repetitive or stale. The "Collector's Edition" came with a soundtrack album on CD.


Beriand and Faeril

Melancholy

Poison

The Song of Faerun (Inst.)

Click for more music and sound examples...