The sound design services I’m able to provide are such as sound engineering, sound editing, sound effects and post production. I’m able to create game sounds, movie sounds and sound art.
The two-hour workshop, held as part of the Teatterilaiva theater festival, was aimed at theater staff. Through an informal discussion on the basic principles of sound design, the focus shifted to available technologies and digital sound processing. Participants created sounds and soundscapes using freely available software and sound libraries. The workshop sparked ideas for future productions.
The Finnish Aviation Museum organized Myyttinen Lento (Mythical Flight), an exhibition exploring flight-related myths and legends designed to spark the imagination of children and adults alike. A highlight was a magic carpet visitors could ride.
I collaborated with Marko Ahokangas from the Theatre Academy of Finland’s Lighting and Sound Design department – he created the sounds, while I programmed the sound player. Using Plogue Bidule, we crafted a continuously evolving, never-repeating eight-channel soundscape that filled the exhibition space.
Spatial audio was managed via four independent eight-channel linear output selectors, modulated by sine wave oscillators, dividing sounds into fast and slow categories controlled by separate sub-programs.
A synthesized wind-like instrument formed a musical layer, dynamically tuning its pitch (via FFT) to frequencies extracted from other sounds – e.g., matching airplane sounds to produce harmonious tones.
Presented here is a two-channel sample of the final soundscape.
Muutos is a traditional Christian indie feature film that I contributed to in multiple roles. I worked as a sound recordist on a few shoots, created ambient atmospheres, and handled aspects of the overall sound design.
Volume automation was applied to even out the dialogue dynamics, ensuring clarity and distinction. While not aiming for realism, this approach prioritizes a focused delivery of the message.
The music mix was tailored to support the dialogue, with the soundfield centered and reverbs intentionally darkened to avoid frequency masking.
I also served as recordist on several shoots and cleaned the recorded dialogue tracks, removing noise and disturbances from the raw footage.
The show was produced by Blind Frame Productions and performed at the Solid Tricular LAN party. Inspired by sci-fi classics like Star Wars, Terminator, and Transformers, the second half featured a lightsaber battle.
I reviewed existing lightsaber sounds but found them insufficiently menacing and too rigid for the show’s needs, so I created my own.
Using Plogue Bidule, the core sound combines PWM sawtooth and synced sawtooth waves. Pulse-width modulation envelopes produce the ignition effect. This waveform passes through multiple filter banks adding subtle distortion, with the centerpiece being a custom monophonic formant filter. The final sound layers three distinct elements.
Movement sounds derive from processing the core signal through additional filters mixed with an amplitude-modulated copy. This creates an “energy field” effect, blended with the original via a crossfader. The crossfader and other parameters are controlled in real-time using a MIDI keyboard modulation wheel.
Though initially planned as a prerecorded track, I manipulated the sound live during the show for greater responsiveness. Contact sounds are variations of the core process, also triggered via keyboard. Beyond lightsabers, I designed many other sounds for the production.
This sound design wasn’t meant to imitate the originals but to create a unique, powerful sonic identity—and it sounded incredible through the party’s PA.