The Physics of Sound: From Presets to Pure Synthesis

When I first started playing music, I was a preset explorer. I loved scrolling through keyboard patches and tweaking them to find a “special tone,” but I didn’t yet understand what it meant to actually build a sound from nothing. That changed during my time at Berklee College of Music in Boston.

Under the guidance of sound engineering pioneers, I was pushed to look past the interface and understand the physics of sound. We spent hours mapping electric circuits and studying the behavior of waves. While it felt tedious at the time, it unlocked a new realm of creative freedom: the ability to master sound at the source.

[Image of Subtractive Synthesis signal flow diagram: Oscillator, Filter, Amplifier, LFO]

By mastering oscillators, LFOs, filters, and noise generators, I moved away from “off-the-shelf” sounds. I gained the tools to manifest exactly what I imagined, controlling the audio signal from its very first vibration.

A Bespoke Sonic Identity for Every Game

Today, my approach to game audio is rooted in this “from scratch” philosophy. I aim to feel the game’s internal world and then complement it with a unique sonic palette. Instead of relying on generic samples, I build custom soundscapes that are native only to that specific game experience.

“I try not to use samples or ready-made patches, but create something that will be unique to that specific game, and would not be found anywhere else.”

If you want your project to have a mesmerizing, integral user experience that draws players into a new reality, I would love to help you build it.

Core Competencies: Analog Synthesis, Waveform Manipulation, Custom Foley, Psychological Audio Direction.