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About me

Technical sound design

I studied sound design at Hogeschool van der Kunsten Utrecht and quickly fell in love with nonlinear audio implementation. I’m passionate about combining sound design knowledge with innovative approaches to create captivating interactive systems. I primarily work with C++ Metasound and Unreal Engine 5, focusing on staying up-to-date with the latest tools and possibilities in game audio. In my free time, I also enjoy building my own sound design tools and capturing sounds with custom-built microphones.

System: DSP Aircraft sound tech demo.

After getting inspired by the book Designing Sound by Andy Fanell, i set out to build upon his examples of aircraft audio systems by trying to achieve realism in a real time game enviroment. 

Features:

  • Expanded MetaSound with various DSP effects.
  • Sonic propagation simulation enabling: delayed sound playback and delayed sound perspective.
  • A system to record and replay flights while keeping the sound simulation real time.
  • Applied Andy Farnell’s theory of fanblade and turbine sound models to create credible DSP aircraft audio.
  • DSP enviroment wind.

2023 / Unreal engine 5 / c++ / Metasound

Game: Ad Infinitum

You fight for your sanity and survival in the trenches of the Great War and the walls of your family home. Play a German soldier haunted by the horrors of the Great War. Terrible creatures, death traps, and insane mysteries mark your path through the battlefield.

I worked on various important audio related systems of the game. During my internship i focussed on spatialization, ambience and later on monster related systems.

After my internship i was asked to implement a few more audio systems and debug any audio related bugs that were introduced during the final stage of development.

Responsibilites:

  • Coming up with solutions for various audio implementations.
  • Setting up spatialization for most audio sources.
  • Creating and expanding upon ambience and dynamic weather systems.
  • Creating dynamic enviroment sounds.
  • Creating various monster related audio systems and sounds including footsteps.

2022-2023 / Unreal engine 4 / Blueprint / C++ / Fmod

Plugin: Reacoustic

Reacoustic Is a fully C++ written plugin that aims to speed up and improve on the implementation process of impact sound for physics objects in unreal engine.

It’s main advantage is it’s unique use of audio analysis to locate each transient in a foley recording allwoing for quick hot swapping of recordings, high variation count per object and close relation between impact strenght and auditive feedback.

Features:

  • Written in c++
  • Transient analysis enables high detail wit low time investment.
  • Custom reacoustic sound assets and a large amount of asset-type actions including: Generating reaoustic sounds from regular soudnwaves. And various custom drag-drop interactions. 
  • Custom editor mode to set up sounds and visualize how sounds are associated with actors. 
  • Association can be implemented in multiple ways: via actor instances, via blueprint and via static mesh asset.

2023 / Unreal engine 5 / c++ / Metasound

System: Procedural wind

This project was done in collaboration with (Audio) programmer) Tim Verberne.

The goal was to build a responsive wind soundscape using Unreal Engine 5’s MetaSounds. My focus was on using MetaSounds’ audio generators and filters to craft a procedural wind ambience that we could adopt to future game projects.

To modulate various aspects of the wind i created a low frequency pink noise algorithm, capturing the natural oscillations of wind. 

4 individual wind patches are controlled by one global wind strenght and spatialized with a custom ambisonic ITD panner. Resulting in a realistic and well contextualized wind ambience. 

Tim developed a system to poll the game environment, gathering data on wind direction and surrounding geometry. I used this data to adjust the MetaSounds patch, allowing the wind to directionally in real-time to different scenarios.

Our combined efforts resulted in a wind soundscape that was not only immersive but also contextually aware and efficient.

Features:

  • Real time procedurally synthesized wind audio.
  • Spatialized by a custom made 4 channel ITD panner or ambisonic panner.
  • Resonant whisps of wind are applied to small or single standing geometry. 
  • Wind will get occluded based on the direction of the wind.
  • Wind will smoothly interpolate between inside and outside enviroments.

2023 / Unreal engine 5 / Blueprint /Metasound

System: RTS Fog of War audio

For an upcoming RTS game, I designed a system that could handle large amounts of interactions using Blueprints. Due to the high number of possible interactions in this game, a significant amount of time was spent on optimizing and designing a Blueprint-based system to manage the complexity. Ultimately, I adopted a multithreading tool to distribute the workload more efficiently. Little did I know at the time that this would serve as a perfect example where C++ could dramatically increase performance.

Features:

  • Multithreaded interaction handling
  • Sounds are silent in undiscovered areas.
  • Sounds are muffled in discovered but out of range areas.
  • Sounds are unfiltered when in range to be heard from players.
  • Smooth transitions per sound between each state.

2023 / Unreal engine 5 / Blueprint

Game: Volition

This was the graduation project of a game development team at the HKU. 

This was my first real introduction into audio implementation. I designed a system that handles the sound for the oxygen refil station. created a blueprint that could handle the sound for all the veins (spline audio source), and created/implemented various interaction and enviroment sounds, adding depth and realism to the game’s auditory landscape.

Responsibilites:

  • Desiginig various sounds for player interactions.
  • Creating a system for charging the oxygen canister.
  • Creating a spatialization system for splines that emit sound. 
  • Implementing various interaction sounds and enviroment sounds.
  • Experiment on enviroment sounds and creating vertical slices of the outside ambience.

2022 / Unreal engine 4 / Blueprint / Sound cues

Demo: Linear sound redesign

 After spending an extensive period focused on coding and systems-based sound design, I wanted to revisit my roots in linear audio. This project presented a great opportunity to do just that, while also deepening my understanding of digital signal processing. The experience allowed me to innovate new audio effects and refine my existing library of linear sound tools. Overall, it served as a fulfilling bridge between my foundational skills and my ongoing explorations in the more technical aspects of audio design.

Features:

  • almost all sounds are either recorded by me or are created with custom audio effects. 
  • Designed using bitwig and reaper.
  • Some sounds are recorded by a custom 192khz, microphone i made.

2022 / Bitwig / Reaper / Premiere pro

Demo: Reel various (legacy)

In my older work, I used FMOD and Unity for audio implementation in various projects. These experiences provided me with a foundational understanding of sound design and its application in interactive environments.

2021 / Unity / Fmod / C#