Games pulled me into sound in 2014, and I've never quite recovered from that first realisation of how much audio shapes what we feel without us knowing why.

Before I touch a single tool, I go to understand what a project tells - its tensions, the atmosphere it lives in, what it's afraid of. The emotional logic of a scene comes first.
Sound follows.

I draw inspiration from nature, reference physics for accuracy, and work with our auditory perception - how sound operates below our consciousness.
I often layer elements the listener won't notice but will absolutely feel: human voices buried in textures, frequencies that reach somewhere quieter and deeper.