I have worked with two game companies, in which I personally created all the music for them. You can find more of the music I created for these companies in Distant Suns, and Nekodama Catastrophe.

I believe the greatest trait to have as a video game composer, is knowing that immersion takes priority over greatness. Knowing that a game isn’t a vessel for your music to be heard, but rather your music is to enhance what the player is experiencing. This is a belief I follow through every aspect of my music career.

Every note played (and not played) has to have a reason for being there, as well as choosing to do a full orchestral score as opposed to a simplistic synth background.  My biggest strength is knowing when the music should be just barely audible, and when it should take the main focus, all to enhance the world that is created.

  • From looping music to fit an arcade level for a hack ‘n’ slash style game:
  • To background ambience, using music to imitate the sounds heard in the level design:
  • When the music should be doing nothing more than setting the scene:
  • To the music being the only sound being heard (such as going into warp drive):
  • And lastly using middleware (FMOD) to use horizontal sequencing so that the music shifts seamlessly from: 

    to: