​I'm a Game Audio Generalist, Composer, Sound Designer, and Pianist/Vocalist specializing in audio for video games, with a focus on indie development. Born in Rome, Italy, I grew up in Wales, UK, and am now based in Texas, USA.​ I was three years old when I played my first video game on the Windows 98 family computer. My first console was the Game Boy Advance SP, and that’s where my love for games really took off. That love for games stayed with me as I grew up, eventually becoming a major part of why I wanted to build a career creating games myself.

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I work across music, sound, implementation, and audio direction, with a hands-on approach to integrating audio into the development process. I’m the Audio Lead on The Baby in Yellow by Team Terrible, a viral indie horror game with over 300 million downloads worldwide. I’ve led the majority of ongoing audio development in Unreal Engine across six years of long-term production, including music composition, sound design, VO editing, and implementation.

I composed the music for Wobbly Life: Space Update, a physics-based multiplayer sandbox game with over 6 million players worldwide. My work has received competitive recognition, including 3rd place in Audio out of 2,400+ entries for Ludum Dare 51, and selection as one of five recipients of the Stan LePard Memorial GDC Scholarship 2023. I also served as the sole audio designer on a VR project developed under StoryTrails, nominated for the 2023 SXSW Innovation Awards, delivering full audio direction and implementation.

My music has been performed by ensembles including the Gateway Chamber Orchestra, Valley Symphony Orchestra, Density512, UNC Symphony Orchestra, and APSU Symphony Orchestra. I’ve studied classical piano since 2006 and am also an experienced vocalist, including vocal performance with the Welsh National Opera. I later earned a degree in Sound for Games & Apps at dBs Institute, specializing in composition, interactive audio, and implementation workflows for games.

Alongside my development work, I contribute to the game audio community as a speaker, judge, and mentor, including through my role with Always Supporting the Games Community (ASGC), where I support emerging talent and share industry experience through mentorship and community engagement. I’ve given guest lectures at UNC, Berklee College of Music, Texas A&M, and APSU, and have appeared at PAX, SXSW, IGDA, ASMAC, Airwiggles AirCon, and in the Global Game Jam Mentor Spotlight 2025.

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​Game jams have also played a huge role in my journey. They gave me some of my earliest opportunities to make games, collaborate with developers, experiment, and grow my skills. I wouldn't be where I am today without the game jam community, which is why I continue to participate, mentor, judge, and advocate for game jams whenever I can.​ ​Game jams also shaped the way I think about game development, which led to what I call “Dev Brain.”

Great game audio isn’t just about creating high-quality music and sound. It’s about understanding how games are actually built and thinking about audio within the larger development process. That means considering gameplay, systems, implementation, production constraints, iteration, and player experience alongside the creative goals of the audio. The goal isn’t to make sound for the game. It’s to make the game sound like itself.

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