click to go back    Audio - Project Overview, Sound Design and Music Production, Future of Game Audio, Demos

I am very proud to say that much of my work is widely recognised. My name may not be on the front cover but I am there nonetheless. My passion and skills in audio production have led me to work on Academy Award, BAFTA, Grammy, Golden Globe, Aria and ASCAP winning productions. I have been fortunate to work with and learn from world’s top audio, film and game professionals.

For me working with sounds is one of the most satisfying experiences to be had.

Major projects and productions I have been involved with: click to go the top

Film, Theatre and Ballet - Producer, Music Editor, Music Producer, Sound Designer, Mixer, Engineer, Performer...
for full job descriptions please visit LinkedIn  

Monster Pies - Indie Melbourne Productions
Conquering California - Media Saints
Last Dance - Screen Australia, Film Victoria, & MIFF
A Thousand Roads - Mandalay Entertainment & The Smithsonian National Museum
Layer Cake - Columbia Pictures Corporation
Man on Fire - Fox 2000 Pictures
Constantine - Warner Bros. Pictures
The Passion of the Christ - Icon Entertainment International
One Perfect Day - Village Roadshow
Whale Rider - South Pacific Pictures
Tears of the Sun - Cheyenne Enterprises
Ali - Columbia Pictures
Gladiator - DreamWorks Pictures
The Insider - Touchstone
Thread of Voice – FilmVic
Heat - Warner Bros. Pictures
Oedipus Rex - Noel Monahan's Theatre Group
Swan Lake - Kirov Ballet - Orange County USA performances
Monster Pies Conquering California Last Dance A Thousand Roads
Man on Fire Tears of The Sun One Perfect Day
ALI Heat Oedipus Rex

Games - Audio Director, Producer, Sound Designer, Music Composer, Designer...
for full job descriptions please visit LinkedIn 

Shooty Skies[iOS/Android] - Mighty Games Group
Disney Crossy Road[iOS/Android] - Mighty Games Group
Crossy Road[iOS/Android] - Hipster Whale
Slide The Shakes[iOS/Android] - Prettygreat
Flipper Fox[iOS/Android] - Torus Games
The Orient Express[iOS/- Android] Torus Games
Mike the Knight[3DS/NDS] - Nintendo
Fireman Sam[3DS/NDS] - Nintendo
Land Sliders[iOS/Android] - Prettygreat
Thomas & Friends: Hero of the Rails – [3DS/NDS] - Nintendo
Barbie & Her Sisters : Puppy Rescue[WiiU/360/PS3/3DS/WiiU] - Mattel
Monster High: New Ghoul in School[WiiU/360/PS3/3DS/WiiU] - Mattel
Armello - [PS4/PC/iOS/Android] - League of Geeks
Crystal Crusade[iOS/Android] Torus Games
Penguins of Madagascar[iOS/Android] - Dreamworks
Falling Skies: The Game[PC/360/PS3/WiiU] - Little Orbit / TNT
How To Train Your Dragon 2[WiiU/360/PS3/3DS/WiiU] - Little Orbit / Dreamworks
Falling Skies: Planetary Warfare[iOS/Android] - Little Orbit / TNT
Barbie: Dreamhouse Party[Wii/360/PS3/3DS/WiiU] - Little Orbit / Mattel
Monster High: 13 Wishes[iOS/Android] - Little Orbit
Turbo[WiiU/3DS/NDS] - D3P / Dreamworks
The Croods - Prehistoric Party [WiiU/Wii/3DS/NDS] - D3P / Dreamworks
Rise Of The Guardians [WiiU/Wii/3DS/NDS] - D3P / Dreamworks
Whack-a-Bone [Web/iOS] - Media Saints / Anatomy Arcade
Madagascar 3 [3DS/NDS] - D3P / Dreamworks4
ABC Play School - Online [Web] - Media Saints / ABC
Pokémon Arcade [Web] - Nintendo
Stunt Flyer: Hero of the Skies[Wii] - Just A Game
Bigfoot [Wii] - ZOO
Knowledge Quest [Web] - Media Saints / Jacaranda
Scooby-Doo! and the Spooky Swamp[PC/NDS/Wii/PSP/PS2] - Warner Brothers
Jolly Rover[PC/Mac] - Film Victoria / Brawsome
Kid Adventures: Sky Captain[Wii] - Torus Games/D3
Scooby-Doo! First Frights[PC/NDS/Wii/PSP/PS2] - Warner Brothers
Zoo Hospital [NDS/Wii] – Majesco
Puzzle Quest; Galactrix [NDS] - Infinite Interactive/Film Victoria
Puzzle Quest; Warlords [NDS] - Infinite Interactive/D3
Neopets Puzzle Adventure[NDS] - Capcom
Heroes Of The Indianapolis 500[NDS/Wii] - Destineer
Monster Jam 2; Urban Assault[PC/NDS/Wii/PS2] - Activision
Indianapolis 500 Legends [PS2] - Destineer
Monster Jam; Maximum Destruction[PC/NDS/Wii/360/PSP/PS2] – Activision
Pony Friends[NDS] – Eidos
Outcast 2[PC] – Infogrames

Slide The Shake Flipper Fox Monster High Land Sliders How To Train Your Dragon 2
Penguins of Madagascar Crystal Crusade Falling Skies: The Game Armello How To Train Your Dragon 2
The Croods - Prehistoric Party Turbo Rise of The Guardians Knowlege Quest Madagascar 3
Scooby-Doo! and The Spooky Swamp Jolly Rover Scooby-Doo! First Frights
Pony Friends

CDs and Installations - Producer, Mastering Engineer, Mixer, Engineer, Technician, Graphic Design, Managment...
for full job descriptions please visit LinkedIn 

Black Opal - Lisa Gerrard 
Sacred - Gabriel Sage 
Siege Mentality - Digital Primate
Absolute - Ozymandias
Sarac'h - Denez Prigent & Lisa Gerrard
A Thousand Roads - Lisa Gerrard & Jeff Rona
Layer Cake - Lisa Gerrard & Patric Cassidy
Immortal Memory - Lisa Gerrard & Patric Cassidy
Tears of the Sun - Hans Zimmer, Lisa Gerrard, Klaus Badelt & Steve Jablonsky
Gladiator - More Music - Hans Zimmer, Lisa Gerrard, Klaus Badelt & Jeff Rona
Gladiator - Hans Zimmer, Lisa Gerrard, Klaus Badelt & Jeff Rona
Irvi - Denez Prigent & Lisa Gerrard
Man on Fire - Harry Gregson-Williams & Lisa Gerrard
Ali - The Score - Lisa Gerrard & Pieter Bourke
Ali (Various Artists) - Lisa Gerrard & Pieter Bourke
Whalerider - Lisa Gerrard
Insider - Lisa Gerrard & Pieter Bourke Stygian Vista
Stygian Vistas - Soma
Toward the Within - Dead Can Dance (live concert filming/recording/editing)
Duality - Lisa Gerrard & Pieter Bourke
Azimoth - eXperimenta media arts festival 
The Mirror Pool - Lisa Gerrard

Black Opal
Irvi - Denez Prigent
Stygian Vistas

Music is something I love and am incredibly passionate about; it comforts and soothes my everyday existence. In this age of proliferating technology, we are fortunate to be able to engage with music wherever we are. Indeed, I would be lost without my ever-expanding music collection.

Audio aesthetics
Aesthetic audio sense is becoming a lost art. Subtlety, dynamics, coherence and silence are aspects in which few are willing to invest. Not everything can be fixed with processing, or at the mixing or mastering stage. For instance, it's impossible to fix poor microphone placement after the recording has been done. If too many of the finer details are ignored, the whole production might suffer.

I highly recommend visiting or Julian Fraser Standen's forums. For me, they are a invaluable source of inspiration and information.

I was fourteen when I started experimenting with audio. I spent countless hours exploring the sound capabilities of my Commodore 64 (Sid chip) mainly coding in basic or using the Musicalc software. I also grew up with a piano in the house, later expending my interests to: hand percussion, singing and synthesizer programming. Currently I am involved in various organizations and businesses: studios, production houses, bands, creative groups, workshops, theatre and various installations. Great sounding audio is something I go all out for and lucky for me there is no shortage of likeminded projects.

Sound Design and Music Productionclick to go the top
Sound production and perfection is something I am extremely passionate about. My aim is to attain the impossible and, lucky for me, audio production will be forever trying to accomplish exactly that. I think sound and music are becoming retrospective; with the aid of modern technologies, we are aiming to recreate that hallmark warm analog sound of the past. 

Game audio is an exciting field to work in. Cross-platform middleware like Miles Sound Syste, FMOD, Wwise and a few others, spearhead their way into a feature rich future. Audio interactivity is something that games can uniquely bring about and this ability opens a vast realm of expression. There are endless possibilities that require an entirely new way of structuring the creation and delivery of music, ambiance and sound effects. 

Skillful low overhead processing, encoding and resampling are the most precious commodities; from Direct-Stream Digital (DSD) to 4000Hz 4bit and every format and samplerate in between. Sometimes it is very hard to retain a recordings original essence, each algorithm processes and taints frequencies differently. At this moment in time I think that one of the biggest problems is virtual mixing (digital summing), it degrades the sound quality immensely. As it stands there is really only one solution: to do summing in analog. Unfortunately when it comes to realtime digital audio, analog summing is just something that cannot be easily done, so attention has to be paid to the bus mixing structure, frequency overlaps and oversampling. 

My equipment list is vast - I work and run two studios. On a personal level, I would have to say that my Kyma & Capybara are the jewels. Steinberg's Wavelab and Nuendo, and 
Native Instruments Reaktor are also tools I could not do without. I remember when I first beta tested Generator (an early version of Reaktor), it was an inspiring deep modular sythesiser experience (except for the complete OS lockups). 

Future of Game Audioclick to go the top
Games are constantly compared to movies. Many say that the film-studio business model is what the game industry needs to adopt. I believe that there are clear similarities between the film and game industries but games can also include and be like; books, music, painting, dancing, communicating or personalised tutoring and are seldom the passive experiences that films are. Actually, the term game is becoming less correct in describing many 'game' or virtual reality titles. I believe we need to update or expand the term computer games, much like Comics expanded into Graphic Novels.

Game audio is far more creative and interactive than audio in other forms of entertainment. Best of all the creativity can come not only from the developer but also from the participator. The fact that the player is also creating an aural experience is almost never scoped into the design. I am hoping that new middleware systems and their features will open new possibilities not only for the developers but also for the players. Bringing a whole new level to the sandbox gaming and VR experience.

Once the “next gen” game audio technology and structures are in place, I can see a live tuning and reacting environment that will leave even the wildest futuristic dreams in the dust. I see special audio and mixing AI systems that will create music and sound effects that even the designer, composer and most of all player could not have imagined.

I also believe that the whole of gaming culture will soon arrive at a few crossroads. For starters journalists will need to mirror the more aesthetic focus of music and art reviews if they hope to write a remotely coherent evaluation of a game or VR experience. Hopefully, at that moment the industry will also initiate a game and interactive audio excellence award structure or at least add the appropriate category to the existing awards. BAFTA and Grammy have already made considerable steps in the right direction. But I also hope that the game industry can disconnect from the established film, music and TV awards and adopt more refined acknowledgements of game excellence.

Demosclick to go the top
As most games accrue about five hundred thousand voiceover files, I have worked on millions of voice recordings, managed, mixed and performed countess live concerts. I have worked on every aspect of any kind of audio production; in brum cupboards or cathedrals with the worst and the best equipment. All with one objective in mind: to make it sound great! But as always the proof is in the pudding or as I like to say; results are the true measure.

Please keep in mind that for demo purposes these are just excerpts and at best just pale reflections of what they are when experienced in their entirety or in the given context; be it film, game, album, live production, installation or audiobook.

click to play
Voiceover and Narration
The voice is the medium of most stories, their lifeblood, understanding and pulse. A lot if not everything pivots on the voice, it is all-important. On most projects, it starts with a great performance and direction. Followed by a great recording and editing. Then comes mixing and mastering. Usually the final step is (flawless) encoding and implementation. The human voice is noting short of amazing and I do not think that my fascination with the nuances, feelings and powers that voices muster will ever end. I truly enjoy working with voices it is one of my passions.

click to playEngineering, Production and Editing
Sometimes working on audio can be like walking in the darkness. On a few of my early projects there was no producer, editor or engineer… there was me, a mountains of equipment and sometimes a band. It did not take long to realise that there are stages and roles and they all require a different mindset and a unique set of skills. I have been lucky to have work with some of the world’s best audio professionals. There are a lot of things I have learned, but one thing is for sure, here are no shortcuts to greatness.

click to play Sound Effects Demo
On most projects experimentation is the best way to arrive at original and interesting sounds. But for me a well-stocked sound library is where the creativity starts. Over the years I have recorded, generated and collected a vast library of sounds. This montage is but a drop in the ocean.

click to playMixing, Mastering, Pre-Mastering and Remastering
There are many books written on the subject of mastering. I think I read most of them; there was a time I thought of co-writing one. There are endless ways to make a recording sound good, and there are few smart ways to mix multitrack recordings. Software, hardware, acoustics it all pails next to the importance of knowing how to listen.

click to playComposition, Collaboration and Remixing (working on a new music demo)
Most music is a team effort; be it an orchestra, band members or recording engineers who are the contributors. I have worked with and for many composers, producers, musicians and DJs. I like composing and it is something I try to do often. But sometimes composing is a long and complex process. There is a huge difference between a solo piano improvisation and an orchestral score. I tend to leave the orchestra scores to my classical composers friends. Some of the music in this demo is not only by me but also by my friends: Lisa Gerrard, Michael Allen, Simon Bowley, Phil Pomeroy and my brother Jedrek Tuschewski.

click to playSound Textures Demo
This is something I have been developing from time to time. A soundtexture is something that lives between sound effect, underscore and a roomtone. Whenever time permits I continue developing new directions and processes in which soundtextures can grow.

click to play Sound Processing and Encoding
So much gear so little time. With a lot of time, some work and (expensive) equipment almost anything is possible… this is just some fun I had with my toys.

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