Showreel Video

Bio + Skills

Hello, my name is Konstantinos but people call me Kon for short.
I am a sound designer and a music professional.

Education:

SAE Degree in Music Production,
Wwise 101 & 301 Certifications,
Music Degree in Music Theory,
Music Degree in Counterpoint

Early contact:

My fascination for video games started as a child with Berzerk for the Atari.
Although very young, I will always remember the impression that
its sound effects made on me. Some time later, the Atari was succeeded
by a personal computer and with that a wider array of video games.
It was then that I was exposed to music software like Rebirth
and FruityLoops. Consequently, I discovered music making and I remain
an active musician to this day. You can check some of my music here.

Career:

  • In 2017-2018 I worked with Nathan McCree as a sound designer on several mobile games. Some of the games include: 
    Snatch (2017), Soccer Stars 2 (2017), Lego NinjaGo: Ride Ninja (2018) Doodle Jump 3 (2018 - beta / unreleased)

  • As of 2023, I have resumed my work as a sound designer for video games in an effort to sharpen my skills in foley & field recording, bolster my experience in audio implementation & middleware and learn the UCS to organise my foley libraries. (I can not announce the game titles yet)

  • From 2015 to 2023, I worked in music-tech as part of Weav Music, a startup created by Google Maps founder Lars Rasmussen.
    Weav specialises in adaptive music experiences and in my ever-evolving role, I had the opportunity to work in music production, sound design, production management and audio prototyping across the entire development cycle of multiple software products (ideation, prototyping, release).

When I’m not working in audio, I enjoy connecting with friends, running, swimming, attending music shows, playing video games, listening to podcasts and reading sci-fi literature and graphic novels.

Skills:

Sound creation with synths, modular systems & software
Studio, Field & Foley Recording
Visual Programming
Editing, Mixing
Music Composition
Production Management

Software:

DAWs (Reaper, Pro Tools, Logic Pro, Ableton)
Wwise (101 & 301 Certifications), Unity
Max/MSP, Reaktor 6, Izotope Rx7

Currently playing: Baldur’s Gate 3

Favourite Games:
Blade Runner
Skyrim
Borderlands franchise
Little Big Planet franchise
Portal 2

Sound Redesign Videos

Foley-oriented redesign.

Guns, guns, guns.

Slow motion sniper shot cutscene.

Horror cutscene redesign.

Past Sound Design Work

Sound Design Commission (2018)
On Sound Design duties.

Sound Design & Music Proposal (2018)
The development of the game was unfortunately discontinued
following the studio’s closure.

Sound & Foley Libraries

These recordings were made in a park with a lake in south Berlin. The recordings took place in daytime and you can hear kids with their mothers, people walking, and the local wildlife.

I used a Zoom H4n with a XY capsule on a tripod, aiming to capture
several good spots in these recordings.

There is a rich mixture of urban sounds. birds and human activity.

This sound collection was made by patching together eurorack modules to produce sudden, eerie/haunting sounds.

A Clouds module is patched into an ErbeVerb module while some of its parameters are being LFO-modulated. Clouds is triggering a piano note sample that is manipulated by the granular engine.

These sounds lend themselves well to horror settings as stingers or to simply add tension to a scene.

The samples on this collection were products of a feedback loop. It was comprised of a delay module, a reverb module and a special filter module (Three Sisters). A mixer module is used to create and control the feedback loop.

The filter’s ability to use its bandpass filters to create formants is what gives these samples their nasal quality.

These samples are good for making unique voices as well as sweeteners to existing creature sounds.

These sounds were created as part of a game I was working on.
I used my shotgun microphone and my tool drawer to record all these sounds in one take, which I edited later.


I was in need of wooden textures and tools shuffling around to use as layers on construction sounds and UI sounds (strategy game).

The sounds for this selection of sounds were created using a a pitch quantiser that was affecting the pitch of a complex VCO module and a LFO all used at high clock speeds.

These sounds are suitable for UI or in-game sounds for games that employ old school / 8-bit aesthetics.

The sounds of this library were created by using a 2-osc VCO and individual pitch quantisers on each oscilator. The output of the VCO is sent to a Waveshaper to further sculpt the sound.

These hits seem like a good layer for UI and notification sounds in futuristic, technological, scifi games.