I have been lucky enough to make my obsession with sound into a long, satisfying career. I have spent the last 20 years focused on shepherding sounds into games, and more importantly, doing so in a way that resonates with the audience.
My path started in traditional studio engineering: SSL consoles, Neumann microphones, the fundamentals that haven't changed since someone first figured out how to capture and manipulate sound. I trained for music and broadcast but found my way into games during the Xbox 360 era in Seattle, and I've been refining the craft ever since.
What I do now sits at the intersection of creative sound design and technical implementation. As Senior Mixer on Bungie's Marathon, I balance lush ambience with tactical clarity, shaping the overall mix across interconnected narrative and gameplay systems. Before that, I spent five years as Senior Sound Designer on Destiny 2, responsible for the sound design in raids and dungeons.
My work has taken me from AAA blockbusters to intimate VR experiences, from field recording to dialogue pipelines, from proprietary engines to Wwise and FMOD. I've pioneered spatial audio techniques, built adaptive music systems, and helped ship titles that defined their platforms. Along the way, I've been lucky to collaborate with some of the best engineers, artists, designers, and composers in the business, and I've learned that the best audio serves the vision, not the ego.
I'm intensely curious about my craft and always looking for the next audio opportunity hiding in a design doc or a half-finished feature. I communicate effectively across disciplines, know what it takes to ship, and I'm equipped to work from anywhere: my home studio handles everything from field recording to final mix.