Sound Stories

Soundscapes that bring visuals to life.

Music for Teaser, Trailer & Promo Video

Music for Video Game

ADAM Audio

Soundtrack Competition 2025

For this soundtrack, I worked mainly in A major, shifting between A major and D Lydian to add brightness and movement, playing with the A-D-A-M acronym. I chose a 3/4 time signature with irregular phrases to keep an organic pulse and avoid the predictability of 4/4.

I mainly used Kontakt (Ferrum) for sound design and bounced MIDI to audio for more flexible processing. I also recorded Foley using everyday objects to add realism. Finally, I delivered a clean mix focused on dynamics, frequency balance, subtle saturation, and a polished master to enhance the overall energy.

The Legend of Zelda (Game Play)

Dynamic music designed to respond to in-game actions.

I chose organic instruments like flutes, cellos, and violins to reflect the game’s natural setting, and used a Dorian scale to support the narrative. Its chromatic tension between major second–minor, third and sixth–minor seventh creates a heroic and mystical feeling that fits the game’s theme.

I designed the soundtrack to adapt to different scenes: the main motif plays during dialogue, strings accompany landscape shots, and the music shifts when enemies appear or during combat.

Sound Design for Video Game UI .

Foley, Ambience & Sound Design

The Explorer

In this video, I demonstrate my technical and creative approach to sound design for a video game's user interface.

For this demonstration, I worked from my own vocal recordings, which I then processed using various techniques: reverb, delay, distortion, modulation, time stretching, reverse playback, or even additional layers using wavetable synthesis with the Vital synthesiser, which added greater timbral richness and personality to the result.

These treatments enabled me to transform simple sounds into unique and functional elements that enhanced the player's experience.

Dragon Age (Cinematic)

Recreated all environmental sounds using foley, editing, and custom sound design.

About the atmosphere, two elements can be identified: a bonfire and some drops falling from the ceiling. For the bonfire, different shots were taken by crumpling plastic bags of varying thickness to simulate the sparks of burning embers. For the drops, they were simply recorded falling onto a glass of water.

I also composed a short soundtrack in C minor using harps, choirs and strings, all native Logic Pro instruments.

The footsteps were added, which were recorded in a foley studio by walking on a wooden box and a gravel surface. Additionally, the impact and squeak of the door were recorded with a Tascam.

Finally, for some sheathed swords, the sounds of knives sliding against each other (recorded with a Tascam at the foley studio) and sounds of metal hitting metal in reverse (recorded with a shotgun microphone in the foley studio) were used.

The challenge here was the magical fireball witch was performed by our protagonist, plastic bags were crumpled to simulate fire, and they were quickly stretched and released to capture the 'boom' produced by the sound tail as they were stretched.

Foley for Animation

Foley, Ambience & Sound Design

The Fear

This was one of my first projects.

The postproduction required extensive Foley work, mainly footsteps and door sounds, since the characters constantly ran and moved between rooms. I began by creating all the foley to bring the scene to life, recording most sounds using a TASCAM recorder and an Audio-Technica AT2020 mic.

The footsteps were recorded in a university's Foley studio using a RODE NTG2 on multiple surfaces, achieving a far more natural outcome.

For percussive sounds (objects falling, doors hitting), in addition to the recorded hit object, the DAW's native percussion was used, modifying parameters such as pitch, attack, release, or length for variation. It was also modified to include vocal sounds (the kid voice, moans, and breathing) by recording myself and then adjusting the pitch or length to create a convincing childlike tone.

Since the short film is an animated thriller, my goal was to maintain a constant sense of tension and nervousness. Most of the effects were atmospheric, built with long attacks, slight modulation or detuning, and dissonant intervals played on the keyboard to heighten suspense.

I also added abrupt, percussive sounds after tense moments (typical of the thriller genre) to emphasise scenes and startle the viewer. These had fast attacks, high velocity, and in some cases, reverse percussion, leading to impacts such as slamming doors or falling objects.

Additionally, I sometimes used out-of-scene sounds, where certain noises are heard even though the source isn't visible, to enhance the overall tension.

The Mandalorian Scene

Rebuilt the scene’s entire audio environment with layered foley, textures, and percussion.

Regarding the ambience, in a war atmosphere, drum rolls and a pedal note that plays throughout the entire clip were added, which could be said to act as subjective ambience. Besides, multiple diffuse and distorted screams recorded at home were added.

Foley sound was made it too, the footsteps were recorded in a foley studio by walking on different surfaces. In one scene, we see a ship crossing from one side to the other.

For this, a car passing at high speed on the street was recorded with a Tascam, which served to simulate a Doppler effect. Another sound is that of a hammer, which was recorded similarly to the swords in the previous clip but applying different processes.

For the laser shots, the same method as Ben Burtt in Star Wars was used, which was to use a metal slinky, stretch it, and hit it at one end, resulting in the sound of the blasters. Finally, for the press, percussion sounds integrated into Logic Pro were used.

“While others focus just on music or sound effects, I focus on emotional impact to.”

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Music for Animation

Cheetos 1993 Ad

Built a full musical and soundscape atmosphere from scratch for this vintage ad.

The next clip was a 1993 advertisement for the "Cheetos" chip brand. It prominently referenced cowboy movies, aiming to evoke the Wild West atmosphere, inspiration was drawn from country music, particularly from Johnny Cash, a melody was composed using the C pentatonic scale.

Similarly, several clichés from Western music were incorporated. These included the iconic harmonica phrase from Ennio Morricone's "The Good, the Bad and the Ugly", percussion effects mimicking the trot of horses (gallop figure), and riffs with slightly distorted guitars.

Additionally, to reinforce the cartoonish nature of the advertisement, a touch of "Mickey Mousing" was implemented, both for the character and for the sounds of the train. This involved using existing instruments, such as a shaker and the same harmonica used in the opening.