Hi! I'm Chris!

I'm a sound guy who also does audio.

Folks call me "Sound Guy Chris" because I'm a reliable, honest, and hardworking guy. It just so happens that I also work with sound as an interactive audio designer and record producer. I've have been working with audio since 2010 and have touched on nearly every facet of audio imaginable in the music and game development communities here - usually in a very Do-It-Yourself capacity.

Looking for my demo reel?

This is latest iteration of my reel. Feel free to contact me if you're looking for something more specific. It was last updated on 4/5/2016.

Projects included are:
  • [0:05 - 0:38] Mortal Kombat X – It Has Begun! TV Spot Resound (Linear Audio 2016)

    A showcase of my design using mostly library-sourced material. My objective in this trailer was to really focus on the character details between Sub-Zero and Scorpion and try to highlight what made them different. Transient shapers in specific were instrumental in making Sub-Zero feel a bit more controlled, while Scorpion had a few treatments done to his exertion sounds to highlight his backstory as a character reborn in The Netherrealm. The absolute biggest challenge in this spot was to overcome was the average shot length. This clip is a 30 second TV spot - a condensed version of the full Mortal Kombat trailer that was approximately two minutes long. The video editing results in a very concise sizzle reel, with very little “recovery” time between actions and camera shots. It forced me to make a lot of decisions, in terms of which aural sound effects would overlap with proceeding sound effects, and how their frequency spectra would overlap to avoid details being lost.

  • [0:39 - 1:37] Need for Speed: Most Wanted Trailer Resound (Linear Audio, 2014)

    Unlike the Mortal Kombat trailer which used a lot of library-sourced material, this trailer leaned more on my own design. The engines were recorded using several microphones and a Zoom H4 in my garage, revving my families cars (with the door open, of course!) and many of the impacts were combinations of stock sound effects and impacts recorded on a vehicle door picked at a local junk yard. One of the challenges in this piece was in identifying ways of giving each vehicle it's own character, achieved not only through the use of panning but in using different equalizer treatments to accent different aspects of each cars "personality" (for example, the rival car's engine noise was given a beefier bottom end, while the player car is waspier and more focused in the high end. By contrast, the police vehicle engines were sampled from older 4-door sedans with a misfiring cylinder.)

  • [1:38 - 2:55] WilsonX Connected Basketball Demo (iOS/Android/Wwise, 2015)

    A gamified training system developed by Wilson Sporting Goods and SportIQ, featuring their new Make/Miss Technology. I was independently contracted and brought onto the project to oversee the continued curating of their growing and increasingly complex Wwise project. I did contribute minor sound design elements but the great majority of my work on this game was in preparing the recorded voice-over elements for implementation into the game, creating new gameplay events out of the information being passed to Wwise Parameters, making structural optimizations to the soundbank organizations (and eventually dropping the file size of the overall app by over 30%!), bug-fixing and just generally improving upon the project iteratively. The first 12 seconds of footage are of the Wwise Project, the following 25 are a screen-capped recording of the game in action.

  • [2:56 - 3:45] Undertakers (PC, 2013)

    Created as part of the Columbia College Chicago 2013 Large Team Game Project Senior Capstone. I functioned as the Sound Effects Lead for a six-person audio team. The sounds you are hearing are the result of a group effort. In specific, I contributed to editing the copious amounts of voice-over interactions between characters (including the ones heard in this segment), and in shaping the sound effects design of the project through vetting SFX and assigning tasks to the team members through Sharepoint and additionally was responsible for logging and tracking each Sound Effects Asset under my oversight from concept to execution.