Projects

• Into Leviathan – Team ElseWare (2023 Brackeys Game Jam) – Sound Design/Dialogue Editor/Narrator
• Backstage Dungeon – Team ElseWare (2023 Gamedev.tv Game Jam) – Sound Design/Dialogue Editor/Narrator
• Elsewhere Express – Team ElseWare (2022 Adventure Jam) – Sound Design/Dialogue Editor

Work Experience

• Crunchyroll (March 2022 – Current) – Voice Actor
• Iolite Studioz (June 2021 – Current) – Head Audio Engineer
• Book Buddy Media (December 2020 – Current) – Audio Editor
  • Life Lessons and Love languages: What I’ve Learned on My Unexpected Journey (2021) – Audio Editor
• StarMan Studios (March 2019 – October 2020) – Audio Engineer
  • Furie (2019) – Pre-Mix
  • The First King (2019) – ADR Engineer and Pre-Mix
  • The Divine Fury (2019) – ADR Engineer and Pre-Mix
  • A Dog’s Courage (2020) – ADR Engineer and Pre-Mix
• Pocket Sandwich Theater: The Roof (February 2019) – Sound Board Operator
• Camp Death: Indiana Solo and the Hunt for the Jeweled Macguffin (January 2019) – Sound Board Operator, Light Design
• Camp Death: Santa Claus vs the Martians (December 2018) – Sound Board Operator, Light Board Operator, Sound Design, Light Design
  • Completely revamped and modernized the original sound design.
• Titanium Templar: Cyberscape Neo (October 2018 – January 2019) – Composer, Sound Design
  • • Provided personal air whip library and additional foley to the project in addition to providing music composition services.
• Camp Death: Indiana Solo and the Hunt for the Jeweled Macguffin (July 2018) – Sound Board Operator, Light Board Operator
• Dos Muchos Games: Block Heavy (Internship, Fall 2015) – Sound Designer, Composer, Sound Implementation
  • Designed and implemented all sound and music for Block Heavy utilizing Unity 5’s Audio API.
• University of Texas at Arlington (Work/Study, Fall 2014 – Spring 2015) – Recording Studio Manager

Education, Conferences & Workshops

• ADR Engineering Workshop (July 2018) – Taught by Neal Malley of FUNImation
  • Learned basics of ADR Engineering focusing on anticipating the director’s needs, editing with focus keys, and general Pro Tools knowledge.

• Game Developer’s Conference (March 2018) – Audio Bootcamp XVII
  • Additional panels attended – Audio Programming Roundtable, Voice Acting Roundtable, and An Interactive Sound Dystopia: Real-Time Audio Processing in “NieR: Automata”
• University of Texas at Arlington (Fall 2008 – Spring 2016) – Bachelor’s Degree of Music, Recording Technology Specialization

Proficiencies

• Programming Languages – C#, Java, Python, C
• DAWs and Plugins – Pro Tools, Reaper, FL Studio, Adobe Audition, iZotope, Waves, Native Instruments
• Audio Middleware – Wwise, Unity 5 Audio API