• Music Composition
  Composition across multiple genres
• Multi-instrumentalist
  Guitar, Bass, Drums, Piano, Tuned percussion
• Sound Design
  Foley, recording, synthesizing, layering, and processing audio
• Mixing, Mastering
• Audio integration
  Integrating audio in Unity and Unreal Engine
  (Metasound)
• Audio Middleware
  Using FMOD and Wwise for creating adaptive and reactive audio
• Version Control Systems
  Git, Perforce, Unity Version Control

Classically trained in guitar and music theory, I have over two decades of experience in computer-based audio production.
I began working as a freelance composer and sound designer for linear and interactive media in 2022, alongside a full-time position as an IT technician.
In 2026, I left IT to focus exclusively on music and sound.

I won the “Best Music” award at the ‘Fantasy/Sci-Fi Film & Screenplay Festival’ for the first short movie I scored: “Mosaic”.

I’m a trailer music composer for Transported Audio and a moderator for Max Konyi’s Discord server which boasts a vibrant community of over 3500 members.

I can play and record both acoustic and electric guitars, as well as bass.
Additionally, I have an extensive collection of virtual instrument libraries, ranging from orchestral instruments to cutting-edge electronic sounds, world music instruments to cinematic effects. Each instrument is playable note by note on my keyboard, giving me a vast array of sonic possibilities at my fingertips.

Crafting game music isn’t just about making something that sounds good. It’s about turning visuals into an interactive auditory experience. While good production skills are crucial, understanding mood techniques, emotional atmospheres, and using music as a storyteller are just as important. From layering to adaptive music, connecting instruments with ideas and characters, there are numerous ways for composers to make a game truly immersive.
This dedication sets me apart from generic music libraries.

Working with tools like FMOD, and Wwise, I take audio features from early concepts all the way to in-engine implementation. Instead of sending raw audio files back and forth, I work directly inside your build to make sure the audio works where it actually counts: during gameplay.

What this looks like in practice:

• Adaptive Audio Design: Creating soundscapes and music systems that react dynamically to what’s happening on screen.

• In-Engine Implementation: Testing, tweaking, and balancing audio directly in context so combat feedback, timing, and mix levels feel right.

• Fewer Iteration Cycles: Handling implementation myself to take technical overhead off your core team and keep iterations fast.

If you want audio that feels integrated into your project rather than layered on top, let’s talk.