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Recording and Mixing of a Live Performance
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.
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Decorative Video for a Chill-Out Space
The video was created to enhance the chill-out area of a party (Satiini). designed for continuous playback and centered around the event’s theme.
Source material was sourced from public domain archives via Archive.org, with additional scenes from the Pinguin Ice Cream commercial by Harry Egipt.
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Music Composition for a Strip Tease Show
This two-minute excerpt is from a 16-minute track created for an artist’s Christmas-themed performances. Beyond the holiday atmosphere, the music needed to convey S/M undertones and be dynamic enough to inspire movement.
I started by experimenting with the notes of Jingle Bells, which soon inspired the basslines. The rhythm is relaxed yet driving, gradually revealing intricate details and structure. Tribal and ancient elements add a suggestive, teasing mystery that remains just out of reach.
The music supports the stage without overpowering it.
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.