Windows 10 Logo
I designed the sonic brand for the 2015 Build Windows 10 logo. The Microsoft brand identity was based on my sonic signature of Windows Holographic / HoloLens.


I directed audio on HoloLens for 3 years, 2 of which were so secret, many people inside Microsoft had no idea what we were working on. In addition to providing audio direction for the individual experiences, I was responsible for designing the overall interaction sounds and aesthetic sonic identity for announce, Build 2015 & points beyond.



Kinect Star Wars
Kinect Star Wars had many teams across developers & publishers working on it. I provided audio direction for Microsoft during the finaling of the project. I designed & oversaw implementation of the Front End / HUD sounds across all modes & the crowd audio system which included writing, supervising the recording & directing of the Walla session.



Kinect Adventures
Kinect Adventures was my first project as Audio Director. I was responsible for the direction of all sound effects, music (composed and licensed) and voice for both linear & interactive sequences. I designed front end sound effects, directed VO, music composition and licensing. I managed teams of internal & external audio vendors, prioritized audio work and directed the final mix.



God of War 3
I was Audio Lead on God of War 3 & the only full time sound employee dedicated to the entirety of the project. I designed player (Kratos) sound effects including Foley, weapons & interactions. I directed Foley sessions & audio outsourcing for creature, cinematic & environment sound effects. I worked closely with the music and voice divisions to ensure quality and continuity across the God of War soundscape.



Burnout Paradise
On Burnout Paradise, I lead a team of sound designers who coordinated with their audio programmer counterparts to deliver in their areas of expertise (vehicles, crashes, environments). In addition to overseeing this work, I designed audio & worked with a programmer to create systems for HUD, front end, boost, traffic and sense of speed.



James Bond, From Russia With Love
As Audio Artist III on James Bond, From Russia With Love, I came in on the final 6 months of the project to design and implement the remaining sound effects for the game. I designed audio for Foley interaction, (non weapon) equipment, multiplayer and environmental objects (point source emitters). I dove deep into implementation on this project, triggering audio from game conditions and parameters such as enemy count, mission % completed & threat level.



I was a Senior Sound Designer on Black. I provided audio design for Foley interaction, bullet impacts, explosions & debirs as well as pick-ups, HUD & front end. I also designed the low health audio filter system which dulled all environment sounds except for bull pass-by sounds & opened the sound filed back up when the player collected more health.



Demon Stone
For Demon Stone, the Forgotten Realms I designed character, enemy, environmental, front end and HUD sounds for gameplay. I also implemented audio into animations and scripted events using proprietary tools and game engines.



Star Wars, Episode 3
As the primary Sound Designer for the game Star Wars, Episode 3, I designed and oversaw implementation for character, enemy, weapon, environment interaction as well as Front End & HUD audio. I coordinated with internal & external Sound Designers including film & VO sound editors from Skywalker Sound. I also co-directed the Skywalker Foley session with the Lucas Film Foley artists.



LOTR The Two Towers
On Lord of the Rings, The Two Towers, I designed weapon, enemy, magic, and object interaction as well as Front End & HUD audio. I worked closely with Weta and the sound design team from NewLine Cinema / Wing Nut to ensure continuity between the game and movie audio.