About Me

I am a seasoned game audio designer with fifteen years of experience making audio for computer games. I have worked for Ubisoft, Vivendi Universal, Neko Entertainment and more doing sound design, music production and composition, foley and field recording, voice over, asset management and integration in games.

I was born in 1979, exactly a year and a month prior to Pac-Man. My first game was Pong at four and my first instrument was piano at six. The 16bit era made me want to make audio for games, sound effects and music. They are layers that aesthetically make everything better in a visceral way. Sound is pure emotion and I was fascinated by that. Still am.

I started working in the industry in 2000 and through the years went on wearing every single hat if not all of them at the same time, designing sound for games. The best moment is to experience the sound in-game, know that it's good but that you can make it better, iterate and implement the changes in a couple keyboard shortcuts. Tools are so good these days it's all about what kind of audio you want to put in the game. The palette is infinite. The spectrum is wide. Let's determine what is best for your needs and let's make it happen.

Contact Me


Check Out Some of My Works (headphones highly recommended).

Cyberpunk is in my blood. I made a new version of CD Projekt Red's Cyberpunk 2077 trailer trying to hit that sexy and classy vibe, while maintaining a hard and rough sci fi feel. Music, Sound Design, Foley.

Simon Stalenhag's visuals hit me so hard I wanted to hear them so I made them. Concept art is a fantastic source for audio inspiration. Music, Sound Design, Foley -no sound libraries used-.

I love Lautner and Neutra's work and I composed this music thinking heavily about horizontals and verticals.

Genesis Funk Tribute. The 16bit era had a profound impact on me on what could be done sound wise. So much character in those chips.


Let's chill for a minute.

Ambient music for an iOS puzzle game.