RoadKings
Game Audio
Over the course of four years, I helped design the full soundscape of Road Kings. From engine detail and UI cues to weather, environments, and narrative/mission moments.
My work aims to make every haul, storm, encounter, and mile across the American South feel immersive, reactive, and alive.
Dakar Desert Rally
The Dakar Rally is the longest race in the world, where pilots and teams experience the harsh conditions of the desert.
In this project, among other topics, I was especially in charge of designing a consistent pipeline to create engine sounds. It consists of a merge between procedural audio algorithms, and well-designed loops, to recreate acceleration, deceleration, and other miscellaneous sounds.
Crysis 2 Remastered
I worked on the final production phase of Crysis 2 Remastered, handling final audio mixing and preparing the title for console certification. This included optimization and validation to meet platform-specific technical and quality standards.
Instruments
These are some of the most relevant acoustic instruments I’ve built.
Most of these works try to take advantage of obsolete objects or explore the sonic capabilities of certain materials.
Muga makes the most out of an old cymbal a friend once gave me. The cymbal holds four strings, and the resonance box is a wine box.
Of course, the cymbal bends with the small adjustment on the string tuning. Needless to say, there is no tuning system for this instrument, and while playing, all notes are tuned by ear.
Of course, the cymbal bends with the small adjustment on the string tuning. Needless to say, there is no tuning system for this instrument, and while playing, all notes are tuned by ear.
A small wooden box with all kinds of springs, and is very fun to play it with a milk frother!
This one is a bit more complex. As a sound source, there is a set of very thin metal plates stretched on both sides. The stretching ratio defines the tuning of each note. On the front plate, six analog effects can be routed like a modular synthesizer. On top of that, each note has its own separate electromagnetic pickup and can be separately routed into the effects.
A funny-looking instrument only designed to explore the rattling sounds of a metal sheet. Was used in many Söll’s works, and also works like a charm when using a bow!
Music
All in all this album is an immersive experience, reinforced by the artwork with fascinating photography by Jorge's father.” - Harco Rutgers, from esc rec.
“The absence of a shared particular experience as death, almost implies that there is nothing to say about its course. Still, this work attempts to devise a hypothesis of an aware and lucid death experience as if it was a voyage, a trip of the mind, and the various stages that would maybe be implied, from confusion, incoherence, dementia, to the acceptance of life’s very end.
Imagine dying and this might be what you hear.
Ever wondered?”
He gave me the task of playing the electronic part
SUPRAHUMAN is a deeply narrative show. A futuristic monologue in musical language of an old machine at the end of its life contemplating Time.
Uses Wwise, Max/MSP, Reaper, and Unreal.
Before discovering the passion for Game Audio, was an Electronic Music Composer, Studio Producer and a Front of House Engineer.
Works at Saber Interactive since 2020, focusing on creating and implementing immersive, high-quality audio for video games. Collaborates closely with cross-disciplinary teams and contributes to the audio direction of projects across platforms.
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Master's Degree in Multimedia and Sound Design @ FEUP
Porto, PT
2014-2016
Bachelor's in Electronic Music and Music Production @ ESART
Castelo Branco, PT
2010-2013
pandeirada.j@gmail.com