Audio Lead at Riot Games(Singapore Studio) on @playvalorant premium content. Modular synths fanatic. Member of The AES. Views are my own.
Singapore
Joined September 2010
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Ayakashi is out! Inspired by Japanese theatre, key actions get musical stingers, like motion and sound dancing together. For the first time in VALORANT, gunfire is musical too: each shot lands as a note. And every inspect has its own looping music track!
I had a blast designing the musical system for the ORA melee in Valorant.
Each animation hits a new music slice, so you’re basically making remixes of your favourite tracks by swapping and spamming attacks. Give it a try! #VALORANT @PlayVALORANT
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Ever heard bamboo squeak? 🌿
The wind turned this grove into an eerie orchestra. I can turn it into a banshee or creature scream later, thanks to the extended range of the PCM-D100 microphones and the 192kHz sample rate. #sounddesign #fieldrecording #beijing #bamboo
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This old wooden door in Beijing sings better than me 😅🚪🎶 #FieldRecording #SoundDesign
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Finally, after so many years I fulfilled my dream and bought a pair of Sennheiser MKH8040 with Rycote ORTF windshield. I’ve been dreaming about this setup since 2012 when I started to use libraries created by Frank Bry(The Recordist)
I can’t wait to try this setup in action!
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🐍 Happy Chinese New Year! 新年快乐！
Proud to share our latest release for the Year of the Snake!
We recorded magnetic fidget toys/clickers at 192 kHz for aggressive post-processing and pitching. Then loaded those sounds into GameSynth Particle Module, drawing motions to add life and movement.
We also blended some aggressive synthetic textures for a sci-fi vibe and layered real snake hiss recordings for extra detail.
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New Release from my team: EX.O Collection for Valorant! To embody the digital essence of this collection, we recorded and processed TONS of glitches and electromagnetic interference of different devices with pickup coils. We also did a lot of time stretching and resampling to highlight those delightful digital artifacts - the ones we usually try to avoid, but here, they're exactly what we wanted! During the assets mastering stage, I went a bit overboard with unconventional usage of denoising plugins, stacked up countless instances of OTT, did a lot tonal/noise ratio processing and genuinely had a lot of fun! 😁
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