Linear Audio and Game Audio Demo Reel
I am a Sound Designer and Audio Engineer based in Seattle, Washington. I have worked as a Post Production Audio Engineer for Television in Los Angeles since 2003, and recently moved to the Seattle area in search of new opportunities. Since 2014 I’ve been expanding my skillset into Virtual Reality development in Unity 3D and interactive Sound Design and implementation with Wwise.
I am currently solo-developing a VR game for the Oculus Rift called AEON Defender.
During my VR Development / Game Development learning journey, I’ve made quite a few prototypes that didn’t quite make it to the next phase, but taught me a lot. You can see them HERE
Below are samples of various audio projects I have recorded, mixed, and sound designed over the years. I am a Wwise 101 Certified End User, and am currently learning Wwise’s Spatial Audio features for VR.
I am currently looking for new opportunities, let’s talk!
dbaudiowork@gmail.com
My Resume
E! News International – Voiceover Record and Edit 2008 – 2017
I was the primary Audio Engineer for the international version of E! News. I recorded and edited voiceover for various languages for the show, which was a quick turnaround re-version of a daily show. It was a high pressure environment, but also a great place to hone my voiceover and dialog editing skills. I worked with some great folks from many different countries and learned lots of useful (and colorful) words and phrases in French, German, Polish, Italian and Arabic.
Mix for Television and Radio Spots
Various Television and Radio Spots I have mixed. Clients included USA Network, NBC Universal, Sony Pictures and Disney Channel Latin America.
FMOD Sound Design and Implementation: Angry Bots – 2014
I participated in the GDC 2014 Demo Derby where the challenge was to Sound Design and replace all the sounds for the Unity example project Angry Bots with the FMOD audio engine.
Muser – App Development
in 2012 I released an iOS app for iPhone and iPad called Muser. It was a creative inspiration generator meant for writers, as way of overcoming writer’s block and generating story ideas. You could shake or swipe the device and it would randomly pick from a stack of cards I created and place them against a randomly picked photograph from various photographers whose photos I licensed for the app.
I wrote the codebase in LUA in a cross-platform game engine called Corona. I also designed all of the visual elements including the idea card graphics and the UI. Shortly after I released the app, Apple changed the aspect ratio for iPhones to 16:9, and the way I coded it meant I would need to do a significant re-write to keep it current with new devices. In 2013, I decided to pull it from the app store due to the combined cost of upgrades as well as paying the license fee to the photographers for continued use of the photos.
Overall all it was great first software development experience and it served as a solid foundation as I moved on to VR Development in Unity.
Fun With Benny – Short Film – Sound Design
An excerpt from the short film Fun with Benny, directed by Shawn Larkin for which I was the primary Sound Designer
Monster House Trailer – Assistant Sound Designer
I was the Assistant Re-Recording Engineer for the theatrical trailer of the film Monster House. I edited and created various sound design elements for the final mix at the Sony dub stage at SSI Advanced Post in Hollywood. During the final mix I assisted the primary Re-Recording engineer, Tom Amelotte with various mix related duties.
The Blair Witch Project (1999) – Music Assistant
While I was going to school in Orlando Florida for Audio Engineering (Full Sail), my classmate and friend Tony Cora introduced me to a secret project his cousin Ed Sanchez was directing which ended up being The Blair Witch Project. Since it was a small and scrappy production Tony was wearing all the audio hats including mix and sound design. At that time I was making and recording experimental sound pieces using found objects and was in the middle of making a new instrument out of metal springs and wood boards. Tony helped me finalize the design of it and together we recorded a bunch of scraping sounds that were processed and used by him for the sound design piece played during the end credits. It was also used through out the promotional materials and trailers and became an iconic part of the sound identity of the film. For my contribution I received a credit in the film as Music Assistant.