Audio isn’t just what I do; it’s who I am. I’m obsessed with sound in all its forms and completely dedicated to becoming the best audio professional I can be. Whether I’m working on set, behind the board, or in the studio, my goal is always to give people a powerful sonic experience that enhances emotion, storytelling, and impact.
My journey began with a deep love for music and technology, which led me to study at OIART, one of Canada’s top audio schools. Since then, I’ve gained hands-on experience across a range of roles including post-production, field recording, mixing, and live sound. Each role has helped me grow in precision, creativity, and collaboration under pressure.
I’m constantly learning, whether it’s new software, evolving best practices, or deeper listening skills. I approach every project with curiosity, discipline, and drive. My technical toolkit includes proficiency with Pro Tools, FL Studio, and Wwise, along with certifications like Wwise 101 and Dante Level 1. I’ve also assisted in media wrangling, live FOH mixing, and location audio work.
But above all, I believe sound is about feeling. I want to be part of projects that move people, excite them, and stay with them long after the final scene or song. I care about quality, consistency, and collaboration, and I’m always looking to work with others who share the same attention to detail and creative energy.
If you’re building something that deserves to sound as good as it looks, I’d love to be part of it.
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For the horror short film Porcelain Eyes, I worked as a post-sound editor, focusing on foley and sound design to enhance the film’s eerie and unsettling atmosphere. I designed and recorded foley, layered and edited sound effects to heighten tension, and collaborated closely with the director to ensure the audio complemented the visual storytelling. I also assisted in the final post-production mix, balancing dialogue, effects, and ambient sounds to create a fully immersive horror experience.
Implemented simple sound integration using Audiokinetic Wwise middleware for an untitled tower defense game. Managed event-based audio triggers for in-game actions such as tower placement, enemy movement, and wave progression. Integrated Wwise with the game engine to handle background music, sound effects, and adaptive audio transitions, ensuring responsive and immersive sound behavior aligned with gameplay.
A collection of my post-production work showcasing sound design, Foley, sound effects editing, and final sound mixing. Each piece highlights my ability to enhance storytelling through detailed audio work, creative atmosphere building, and balanced, immersive mixes.
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