HIGHLIGHTS / MUSIC CREDITS / AUDIO CREDITS / RECOGNITION
A Short Story
If you ask me why I do what I do, pressed hard enough, I will half-jokingly end up confessing I’ve always been looking for an excuse to score a Final Fantasy final boss fight scene. You know, that one.
Yes, that’s cute, but the non-joke half of that is the heart of my mission statement. My calling, in a nutshell. Let me explain a bit.
When I compose music, I try to recreate that sense of wonder, the hair-raising emotional high that those moments created. They’re etched forever in my mind. Such is the combined power of video game storytelling enhanced by music.
It’s not just the final boss fights - it’s every time the music was so lovingly crafted to enhance the emotion of a game that the whole experience jumps at you and pierces you to your core.
In this video game era of sprawling worlds to explore and narratives running from highly cinematic but strictly linear to elegantly minimalist and savantly procedural, the challenge of summoning this effect takes on a technical quality as well. I’ve had the luck of working with some of the most gifted composers as the person responsible for making their music hit the right place at the right time. I know it can be done.
I was hooked the moment this phenomenon happened to me, many years ago. I’ve slowly been making my way to be in a position where I can hope to create these moments for other people, as often as I can afford to, for as long as I can.
Highlights
Borderlands 4 (2025 – Gearbox Software)
Music composition and implementation for the introductory mission, the Carcadia Burn region, and the Elpis region. Audio design for the Elpis region and various open-world activities.
New Tales from the Borderlands (2022 – Gearbox Software)
Music composition, design and implementation of the interactive music systems, totaling over four hours of music. Music supervision and editing for the introductory sequences of the story episodes.
Divinity: Original Sin II (2017 – Larian Studios)
Audio Lead, working in close collaboration with composer/music director Borislav Slavov, coordinating a team of three audio designers and external outsourcing partners, with a focus on sound design and mixing. Audio design for various aspects of the game, with a particular focus on enemy and player-character abilities.
Assassin’s Creed Syndicate (2015 – Ubisoft)
Music designer and supervisor, responsible for establishing the direction, pacing and budget of the music score across the game, as well as defining how the various interactive music systems interact within the open-world environment. Supervised the music composition and production with composer Austin Wintory. The resulting score received multiple awards (HMMA, IFMCA), nominations (GANG, BAFTA, IGN), and a joint GDC 2016 presentation.
Music Credits
Borderlands 4 (2025 – Gearbox Software)
Music Composition (with Finishing Move Inc., Cris Velasco, Joshua Carro) & Audio Design
New Tales from the Borderlands (2022 – Gearbox Software)
Music Composition & Design
Borderlands 3: Psycho Krieg and the Fantastic Fustercluck (2020 – Gearbox Software)
Music Supervision & Design (music by Finishing Move Inc.)
Assassin’s Creed Syndicate (2015 – Ubisoft)
Music Supervision & Design (music by Austin Wintory)
Assassin’s Creed Freedom Cry (2013 – Ubisoft)
Music Supervision & Design (music by Olivier Deriviere)
Assassin’s Creed III: The Tyranny of King Washington (2013 – Ubisoft)
Music Supervision & Design (music by Lorne Balfe)
The Black Eyed Peas Experience (2011 – Ubisoft)
Music & Audio Design
Prince of Persia: The Forgotten Sands (2010 – Wii – Ubisoft)
Music Supervision, Music & Audio Design (music by Tom Salta)
Cranium Kabookii (2007 – Wii – Ubisoft)
Music Supervision, Music & Audio Design (music by Jake Kaufman)
Surf's Up (2007 – GBA – Ubisoft)
Music Supervision, Music & Audio Design (music by Jake Kaufman)
TMNT (2007 – NDS, PSP – Ubisoft)
Music Supervision, Music & Audio Design (music by Jake Kaufman for NDS)
Audio Credits
Baldur's Gate 3 (2023 – Larian Studios)
Lead Sound (conception phase, 2018)
Borderlands 3: Guns, Love and Tentacles (2020 – Gearbox Software)
Audio Design
Borderlands 3: Moxxi’s Heist of the Handsome Jackpot (2019 – Gearbox Software)
Audio Design
Borderlands 3 (2019 – Gearbox Software)
Audio Design
Borderlands 2: Commander Lilith & the Fight for Sanctuary (2019 – Gearbox Software)
Audio Design
Divinity: Original Sin II (2017 – Larian Studios)
Audio Lead & Design
For Honor (2017 – Ubisoft)
Audio Design
Assassin’s Creed IV: Black Flag (2013 – Ubisoft)
Audio Design
Assassin’s Creed III (2012 – Ubisoft)
Audio Design
Combat of Giants: Dinosaurs 3D (2011 – 3DS – Ubisoft)
Audio Design
Battle of Giants: Dinosaurs Strike (2010 – Wii – Ubisoft)
Audio Design
Open Season (2006 – NDS – Ubisoft)
Audio Design
Recognition
My work has received recognition and nominations from
BAFTA · CVA · GANG · MPSE · Music+Sound Awards · NAVGTR
Complete list on LinkedIn.