Create Naturally
PORTFOLIO
Production . Engineering . ADR . Sound Design
WISH - BIG HURT
For “Wish” by Big Hurt, I approached the production and engineering with the goal of capturing the song’s core emotion—wistfulness and the longing for something familiar, even when it’s ultimately harmful. The arrangement leans on spacious reverb and delicate layering to create a sense of distance, while the vocal mix emphasizes intimacy, almost as if it’s confessional. Instrumental textures were carefully balanced to drift in and out, mirroring the push-pull between desire and restraint. By shaping the dynamics and tonal palette this way, the mix conveys both the beauty and the ache of wanting what you know you shouldn’t return to.
SALVATION - BIG HURT
For “Salvation” by Big Hurt, my engineering and production aimed to capture an atmosphere that is both ethereal and foreboding. I leaned into layered textures and reverberant space to evoke the haunting weight of trying to outrun one’s past. The mix highlights ghostly vocal presence and immersive low-end, grounding the track in tension while allowing the airiness to symbolize the search for relief. By balancing clarity with shadowed undertones, the soundscape mirrors the themes of seeking salvation and the inevitability of atonement, creating a sonic journey that feels both fragile and inescapable.
CALL ME UP - BIG HURT
For “Call Me Up”, my production and engineering approach centered on evoking the raw tension of a toxic, late-night connection. I shaped the tonal atmosphere with shadowy low-end, reverb-drenched melodies, and stark vocal presence to mirror the push-pull of desire and rejection. The mix deliberately leaves space, creating a sense of isolation—like the silence that follows when the line goes dead. By balancing intimacy with dissonance, the soundscape captures the cycle of lust, dismissal, and self-inflicted closure, allowing the listener to feel both the seduction and the ache of dancing alone in the night.
OCEAN OF BLOOD - BIG HURT
For “Ocean Of Blood” by Big Hurt, my production and engineering approach was focused on sonically translating the collision of physical and emotional trauma. I layered sharp, raw textures against warmer, atmospheric elements to mirror the contrast between pain and vulnerability. The percussion and low-end carried a visceral, almost bodily weight, while the vocals and ambient layers were mixed with fragility and space, evoking emotional fracture. By balancing these extremes, I crafted a soundscape that conveys the overwhelming intensity of trauma while leaving room for the listener to feel its lingering emotional aftermath.
SOUND DESIGN - THE BLACKSMITH
For The Blacksmith, a dark fantasy game, I crafted both linear and non-linear sound design to immerse players in its shadowed, mythic world. On the linear side, I built atmospheric layers—wind, fire, steel, and ominous ambiences—that establish a brooding tone and evolve with narrative pacing. Non-linear design focused on responsive, player-driven sounds: weapon strikes, crafting mechanics, footsteps, and environmental cues that shift dynamically based on interaction. By blending carefully recorded Foley, processed textures, and adaptive audio systems, the soundscape reinforces the collision of grit, danger, and mysticism at the heart of the game’s dark fantasy experience.
SOUND DESIGN - VARIOUS DESIGN
My approach to video game sound design emphasizes seamless integration of audio into the player’s experience. I create looping ambiences that evolve naturally without repetition fatigue, ensuring immersive environments that feel alive and reactive. For interactable objects, I design layered, responsive sounds that reflect player agency and feedback. Complex systems, like crafting or combat, are built with non-linear design, allowing variation and unpredictability. I also specialize in spatial and 3D audio design, positioning sounds dynamically in the game world to enhance realism, immersion, and player awareness. The result is a soundscape that adapts as fluidly as the gameplay itself.