Sound Designer and Composer with over five years of experience in comprehensive audio post-production, including sound design, scoring, mixing, and editing for diverse audiovisual media. Expertise in AI Model Assessment, specializing in data annotation and quality control for output truthfulness, accuracy, instruction following, localization and multimodal performance (text, image, and acoustic fidelity).…Sound Designer and Composer with over five years of experience in comprehensive audio post-production, including sound design, scoring, mixing, and editing for diverse audiovisual media. Expertise in AI Model Assessment, specializing in data annotation and quality control for output truthfulness, accuracy, instruction following, localization and multimodal performance (text, image, and acoustic fidelity).WWW…
Sound Designer and Composer with over five years of experience in comprehensive audio post-production, including sound design, scoring, mixing, and editing for diverse audiovisual media. Expertise in AI Model Assessment, specializing in data annotation and quality control for output truthfulness, accuracy, instruction following, localization and multimodal performance (text, image, and acoustic fidelity).…Sound Designer and Composer with over five years of experience in comprehensive audio post-production, including sound design, scoring, mixing, and editing for diverse audiovisual media. Expertise in AI Model Assessment, specializing in data annotation and quality control for output truthfulness, accuracy, instruction following, localization and multimodal performance (text, image, and acoustic fidelity).WWWW…
Available to hire
Sound Designer and Composer with over five years of experience in comprehensive audio post-production, including sound design, scoring, mixing, and editing for diverse audiovisual media. Expertise in AI Model Assessment, specializing in data annotation and quality control for output truthfulness, accuracy, instruction following, localization and multimodal performance (text, image, and acoustic fidelity).
Experience Level
Expert
Expert
Expert
Expert
Expert
Intermediate
Intermediate
Intermediate
Language
English
Fluent
Spanish; Castilian
Fluent
Portuguese
Intermediate
French
Intermediate
Work Experience
Sound Designer and Composer at Freelance
September 20, 2021 - PresentMusic Composer and Sound Designer at Anachronic Films
July 31, 2023 - PresentFilm Perdurabo
Audio Editor at Wire Music
June 1, 2020 - February 1, 2021Sound Designer and Music Supervisor at Flainar
February 8, 2025 - December 31, 2025Animated Series
AI Output Quality Control for Multimodal Localization, Cultural Nuance, and Factual/Bias Verification at Various
May 1, 2025 - PresentEducation
Bachelor of Arts, Music and Sound Design at Queen's University Belfast
September 15, 2021 - July 3, 2025Qualifications
Industry Experience
Media & Entertainment, Professional Services
NARRATIVE SOUNDSCAPES SERIES: LAND COFFEE, LEAD, OBLIVION
Narrative Soundscapes Series: Tierra de Café, Plomo y Olvido
A sonic map of a landscape caught between tradition and trauma.
The second installment of the series, Tierra de Café, Plomo y Olvido, is a profound auditory exploration of the Colombian armed conflict and its multifaceted impact on the collective psyche. This piece navigates the collision between the different actors of the war and the civilians from all walks of life who exist within the crossfire.
In keeping with the philosophy of the series, this narrative is told entirely through sound design and complex musicality, devoid of traditional dialogue or voice acting.
The Creative Process
The composition incorporates traditional Colombian songs and audios as narrative pillars. However, these are not treated as primary musical themes; instead, they are woven into the soundscape as spectral remnants of a cultural and social identity under siege. Brief fragments of speech are utilized solely as a tool to pinpoint and ground recognizable national melodies, ensuring the human voice remains a sonic texture rather than a direct storyteller.
The Narrative Arc
Through the use of avant-garde synthesis and visceral environmental textures, the soundscape moves from the pastoral rhythms of the countryside to the jarring, industrial echoes of conflict. It is a study of "forgetting" (Olvido) and "lead" (Plomo), where the comfort of the familiar—the scent of coffee and the sound of a traditional copla—is systematically disrupted by the "weird" and unsettling sonic signatures of war.
Listening Instructions
This work requires deep, attentive listening. To fully perceive the spatial nuances and the hidden melodic cues, the use of high-quality headphones in a quiet environment is essential.
Credits
Composition and Sound Design: Pablo Cano
Techniques: Avant-garde foley, modern synthesis, spatial audio manipulation.
ColombianConflict SoundArt NarrativeSoundscape AvantGarde…Narrative Soundscapes Series: Tierra de Café, Plomo y Olvido
A sonic map of a landscape caught between tradition and trauma.
The second installment of the series, Tierra de Café, Plomo y Olvido, is a profound auditory exploration of the Colombian armed conflict and its multifaceted impact on the collective psyche. This piece navigates the collision between the different actors of the war and the civilians from all walks of life who exist within the crossfire.
In keeping with the philosophy of the series, this narrative is told entirely through sound design and complex musicality, devoid of traditional dialogue or voice acting.
The Creative Process
The composition incorporates traditional Colombian songs and audios as narrative pillars. However, these are not treated as primary musical themes; instead, they are woven into the soundscape as spectral remnants of a cultural and social identity under siege. Brief fragments of speech are utilized solely as a tool to pinpoint and ground recognizable national melodies, ensuring the human voice remains a sonic texture rather than a direct storyteller.
The Narrative Arc
Through the use of avant-garde synthesis and visceral environmental textures, the soundscape moves from the pastoral rhythms of the countryside to the jarring, industrial echoes of conflict. It is a study of "forgetting" (Olvido) and "lead" (Plomo), where the comfort of the familiar—the scent of coffee and the sound of a traditional copla—is systematically disrupted by the "weird" and unsettling sonic signatures of war.
Listening Instructions
This work requires deep, attentive listening. To fully perceive the spatial nuances and the hidden melodic cues, the use of high-quality headphones in a quiet environment is essential.
Credits
Composition and Sound Design: Pablo Cano
Techniques: Avant-garde foley, modern synthesis, spatial audio manipulation.
ColombianConflict SoundArt NarrativeSoundscape AvantGardeWW…
NARRATIVE SOUNDSCAPES SERIES FEVER DREAM
Narrative Soundscapes Series: Fever Dream
The story begins where words and visuals end.
Fever Dream is the inaugural installment of the Narrative Soundscapes Series, a collection of purely auditory experiences designed to tell stories without the use of dialogue or visual material. This piece explores the boundary between avant-garde composition and narrative storytelling, using the "theater of the mind" as its primary canvas.
By utilizing modern synthesis, granular processing, and unconventional foley, I have constructed a world that is intentionally "weird" and sonically complex. Every dissonant shift, micro-tonal texture, and rhythmic irregularity serves as a narrative cue—a plot point rendered in frequency rather than speech.
The Philosophy
This series treats sound as a standalone architecture. The goal is to guide the listener through a shifting psychological landscape where the complexity of the material itself drives the emotional arc. In the absence of visuals, your subconscious is invited to render the imagery.
The objective of this piece was to translate the subjective experience of a febrile hallucination into a coherent auditory narrative. The soundscape begins with the rhythmic, grounded elements of a daily routine, which are gradually deconstructed through modern synthesis and dissonant processing. This transition mirrors the protagonist's descent into a state of cognitive distortion. By utilizing complex musical material to represent biological dysfunction, the work explores the tension between a mind struggling for control and a body surrendering to the sensory instability of a fever dream.
Listening Instructions
For the intended immersive experience, it is highly recommended to listen in a dark environment using high-quality headphones. Allow the spatial cues and textures to dictate the narrative flow.
Credits
Composition and Sound Design: Pablo Cano
Techniques: Avant-garde foley, modern synthesis, spatial audio manipulation.
NarrativeSoundscapes SoundArt AvantGarde ExperimentalAudio…Narrative Soundscapes Series: Fever Dream
The story begins where words and visuals end.
Fever Dream is the inaugural installment of the Narrative Soundscapes Series, a collection of purely auditory experiences designed to tell stories without the use of dialogue or visual material. This piece explores the boundary between avant-garde composition and narrative storytelling, using the "theater of the mind" as its primary canvas.
By utilizing modern synthesis, granular processing, and unconventional foley, I have constructed a world that is intentionally "weird" and sonically complex. Every dissonant shift, micro-tonal texture, and rhythmic irregularity serves as a narrative cue—a plot point rendered in frequency rather than speech.
The Philosophy
This series treats sound as a standalone architecture. The goal is to guide the listener through a shifting psychological landscape where the complexity of the material itself drives the emotional arc. In the absence of visuals, your subconscious is invited to render the imagery.
The objective of this piece was to translate the subjective experience of a febrile hallucination into a coherent auditory narrative. The soundscape begins with the rhythmic, grounded elements of a daily routine, which are gradually deconstructed through modern synthesis and dissonant processing. This transition mirrors the protagonist's descent into a state of cognitive distortion. By utilizing complex musical material to represent biological dysfunction, the work explores the tension between a mind struggling for control and a body surrendering to the sensory instability of a fever dream.
Listening Instructions
For the intended immersive experience, it is highly recommended to listen in a dark environment using high-quality headphones. Allow the spatial cues and textures to dictate the narrative flow.
Credits
Composition and Sound Design: Pablo Cano
Techniques: Avant-garde foley, modern synthesis, spatial audio manipulation.
NarrativeSoundscapes SoundArt AvantGarde ExperimentalAudioWW…
FARA Foundation Charity Race of Champions
Sound Design & Music Supervision for the FARA Foundation Charity Race of Champions
I am pleased to share my work on the promotional film for the FARA Foundation’s Charity Race of Champions at the Homestead-Miami Speedway. This project required a precise balance between the high-octane intensity of motorsports and the sophisticated, philanthropic mission of the foundation.
In the realm of automotive media, the sound is the primary driver of the viewer's experience. My objective was to translate the raw, mechanical power of the track into a polished and immersive cinematic narrative.
Key aspects of my role included:
Sonic Engineering: Capturing and redesigning the visceral textures of the race—from the aggressive downshifts and turbocharger acoustics to the complex Doppler effects of high-speed flybys.
Music Supervision: Selecting and licensing a score that provided the necessary adrenaline for the racing sequences while maintaining a tone of prestige and purpose.
Audio Post-Production: Achieving a surgical mix where the mechanical grit and the musical score coexist without sacrificing clarity or impact.
Working on a project with such high stakes—both on the track and for the charitable cause—was a rewarding challenge in technical synchronization and creative direction.
SoundDesign MusicSupervision Motorsports PostProduction…Sound Design & Music Supervision for the FARA Foundation Charity Race of Champions
I am pleased to share my work on the promotional film for the FARA Foundation’s Charity Race of Champions at the Homestead-Miami Speedway. This project required a precise balance between the high-octane intensity of motorsports and the sophisticated, philanthropic mission of the foundation.
In the realm of automotive media, the sound is the primary driver of the viewer's experience. My objective was to translate the raw, mechanical power of the track into a polished and immersive cinematic narrative.
Key aspects of my role included:
Sonic Engineering: Capturing and redesigning the visceral textures of the race—from the aggressive downshifts and turbocharger acoustics to the complex Doppler effects of high-speed flybys.
Music Supervision: Selecting and licensing a score that provided the necessary adrenaline for the racing sequences while maintaining a tone of prestige and purpose.
Audio Post-Production: Achieving a surgical mix where the mechanical grit and the musical score coexist without sacrificing clarity or impact.
Working on a project with such high stakes—both on the track and for the charitable cause—was a rewarding challenge in technical synchronization and creative direction.
SoundDesign MusicSupervision Motorsports PostProductionWW…
Flainar Animated Shorts Series
Project Completion: Lead Sound Design for Flainar Educational Series
I am pleased to announce the conclusion of my work with the Portuguese creative firm Flainar on their upcoming educational series. Over the past few months, I have overseen the spatial sound design and music supervision for 25 episodes of hand-drawn animation.
This project was a significant exercise in building a cohesive auditory world across a large volume of content. My role encompassed the end-to-end sonic architecture of the series, ensuring that each episode was both educationally clear and creatively engaging.
My responsibilities throughout the series included:
Spatial Sound Design: Implementing immersive audio techniques to enhance the depth of the hand-drawn visual environments.
Foley and Sound Effects: Designing custom organic textures and mechanical cues tailored to the unique aesthetic of the animation.
Audio Post-Production: Recording, editing, and equalizing all soundtracks and dialogue to ensure frame-accurate synchronization with the visual narrative.
Music Supervision: Guiding the creative use of music to support the educational objectives and emotional arc of each episode.
The 25-episode series is scheduled for release later this year. It has been a privilege to collaborate with the Flainar team, especially Carlos Figueiredo for the opportunity and trust to bring this vision to life, and I look forward to sharing the final results soon.
SoundDesign MusicSupervision Animation AudioPost FLANAIR Educational…Project Completion: Lead Sound Design for Flainar Educational Series
I am pleased to announce the conclusion of my work with the Portuguese creative firm Flainar on their upcoming educational series. Over the past few months, I have overseen the spatial sound design and music supervision for 25 episodes of hand-drawn animation.
This project was a significant exercise in building a cohesive auditory world across a large volume of content. My role encompassed the end-to-end sonic architecture of the series, ensuring that each episode was both educationally clear and creatively engaging.
My responsibilities throughout the series included:
Spatial Sound Design: Implementing immersive audio techniques to enhance the depth of the hand-drawn visual environments.
Foley and Sound Effects: Designing custom organic textures and mechanical cues tailored to the unique aesthetic of the animation.
Audio Post-Production: Recording, editing, and equalizing all soundtracks and dialogue to ensure frame-accurate synchronization with the visual narrative.
Music Supervision: Guiding the creative use of music to support the educational objectives and emotional arc of each episode.
The 25-episode series is scheduled for release later this year. It has been a privilege to collaborate with the Flainar team, especially Carlos Figueiredo for the opportunity and trust to bring this vision to life, and I look forward to sharing the final results soon.
SoundDesign MusicSupervision Animation AudioPost FLANAIR EducationalWW…
Sound and Music for Screen Reimagine by Pablo Cano
Cinematic Redesign Reel: Dune (2021) & The Mirror (1975)
An exploration in the extremes of cinematic scale: from the colossal to the ethereal.
This reel features a comprehensive sound and music redesign for two iconic moments in cinema: the Sandworm encounter from Denis Villeneuve’s Dune: Part One and the burning barn sequence from Andrei Tarkovsky’s The Mirror. The objective was to replace the original score entirely and add some sound effects, creating a new sonic identity that honors the director's vision while exploring my own avant-garde and modern technical approach.
Dune: Part One - The Sandworm Scene: For this sequence, the focus was on representing scale through frequency. I utilized custom synthesis to create the "voice" of the desert—a low-end, sub-bass presence that feels more like a geological event than a creature. Additionally, futuristic pads and synths that carry the pace and tension throughout the scene. By layering organic foley with synthetic textures, I aimed to capture the hostile, oppressive atmosphere of Arrakis and the sheer physical power of the Shai-Hulud.
The Mirror - Burning Barn Scene: In contrast, Tarkovsky’s The Mirror required a poetic, dreamlike delicacy. The sound design and score for the burning barn sequence moves away from literal fire effects into a more surrealist, psychological space. Using micro-tonal textures and processed acoustic recordings from Tina Guo's VST (Sul-pont cello), the audio mirrors the protagonist's internal state—focusing on the crackle of memory and the haunting, quiet intensity of a childhood hallucination.
Technical Focus:
Bespoke Foley: Crafting unique organic sounds for the futuristic yet raw environment of Arrakis.
Modern Synthesis: Using granular and wavetable synthesis to create "weird," non-linear textures.
Atmospheric Contrast: Managing the dynamic range between the maximalist chaos of Dune and the minimalist tension of The Mirror.
Project Credits
Original Films: Dune: Part One (Dir. Denis Villeneuve), The Mirror (Dir. Andrei Tarkovsky).
Sound Design & Music Redesign: Pablo Cano
SoundDesign AudioPostProduction SoundRedesign Foley MusicComposer…Cinematic Redesign Reel: Dune (2021) & The Mirror (1975)
An exploration in the extremes of cinematic scale: from the colossal to the ethereal.
This reel features a comprehensive sound and music redesign for two iconic moments in cinema: the Sandworm encounter from Denis Villeneuve’s Dune: Part One and the burning barn sequence from Andrei Tarkovsky’s The Mirror. The objective was to replace the original score entirely and add some sound effects, creating a new sonic identity that honors the director's vision while exploring my own avant-garde and modern technical approach.
Dune: Part One - The Sandworm Scene: For this sequence, the focus was on representing scale through frequency. I utilized custom synthesis to create the "voice" of the desert—a low-end, sub-bass presence that feels more like a geological event than a creature. Additionally, futuristic pads and synths that carry the pace and tension throughout the scene. By layering organic foley with synthetic textures, I aimed to capture the hostile, oppressive atmosphere of Arrakis and the sheer physical power of the Shai-Hulud.
The Mirror - Burning Barn Scene: In contrast, Tarkovsky’s The Mirror required a poetic, dreamlike delicacy. The sound design and score for the burning barn sequence moves away from literal fire effects into a more surrealist, psychological space. Using micro-tonal textures and processed acoustic recordings from Tina Guo's VST (Sul-pont cello), the audio mirrors the protagonist's internal state—focusing on the crackle of memory and the haunting, quiet intensity of a childhood hallucination.
Technical Focus:
Bespoke Foley: Crafting unique organic sounds for the futuristic yet raw environment of Arrakis.
Modern Synthesis: Using granular and wavetable synthesis to create "weird," non-linear textures.
Atmospheric Contrast: Managing the dynamic range between the maximalist chaos of Dune and the minimalist tension of The Mirror.
Project Credits
Original Films: Dune: Part One (Dir. Denis Villeneuve), The Mirror (Dir. Andrei Tarkovsky).
Sound Design & Music Redesign: Pablo Cano
SoundDesign AudioPostProduction SoundRedesign Foley MusicComposerWW…
Hire a Sound Designer
We have the best sound designer experts on Twine. Hire a sound designer in Medellin today.