COMPOSER AND SOUND DESIGNER.


ABOUT
I’ve never been interested in wallpaper audio.
The projects that stay with me are the ones with a strong internal gravity.
Games and films where tone matters; where sound is treated as part of the world’s identity. Not something simply bolted on at the end of production.
That ethos has informed the way I approach audio across composition, sound design and implementation. That could mean building oppressive hybrid orchestral scores. It could mean designing systems that keep a project scalable under production pressure. More often than not, it requires an intimate understanding of the emotional subtext that a project seeks to communicate.
I value clarity, reliability and intent; creative work collapses quickly without them. Good audio should feel authored. It should reinforce the emotional language of a project and stay with an audience.
Are we aligned? Get in contact.
- Edward Ray

I. THE WORK
Killer. No Filler.
Original music for games and film. Sound design where the world demands it.
Implementation across FMOD, Unity, Wwise and Unreal.
II. THE METHOD
Discipline As Doctrine.
Clear briefs. Quick iterations. Steady communication. Milestones agreed up front. Revisions handled without fuss.
Delivery that respects schedules.
III. THE INSTRUMENTARIUM
More Than Most.
Modular and hardware synths. Analogue outboard. Recorded brass, woodwind and strings.
Guitars, bass and drums. A studio built to scale.
IV. PAST ALLIES
Projects across European, Asian and American markets.
Credits include titles published by Meta, FIFA and internationally aired television.
V. OUR PACT
The right sound is the one that serves your world.
Whether orchestral, synthetic or something stranger, the aim is the same: clarity, identity and emotional weight.

