Technical
Implementation
Building the systems that make sound respond to what's actually happening on screen. In Unreal, that means Blueprints wiring gameplay actions directly to sound cues and MetaSounds for variation that never repeats the same way twice. In FMOD, it's deeper interactive and responsive work — full adaptive music and sound systems that react to the whole game, not just a single trigger, including a live FMOD-to-Unreal Engine combat audio system built for Monster Punk. Unity rounds it out for projects that live there instead.
Unity
Unreal
FMOD
Sound
Design
From weapons and sci-fi tech to full ambiences, Mor designs sound that feels tactile and specific. Foley is recorded both in-studio and out in the field, then shaped alongside synthesis to build textures that don't exist in nature. He also voices creatures and unique characters — in English or full gibberish — layering and processing performances until they land somewhere between human and imagined. Every sound leaves the desk polished and ready to drop in.
Music
Composition
Original scores for games and film, written from the story outward rather than the other way around. Mor draws on a decade-plus as a multi-instrumentalist and recording engineer to move between orchestral, hybrid, and electronic palettes — real instruments and performance woven in wherever it serves the moment. The aim is always music that disappears into the experience, not music that announces itself.
Post
Production
Final polish across music and dialogue so the mix holds up everywhere it's heard — from a phone speaker to a cinema system. That includes mixing trailers built to cut through the noise on social media and hold up in publisher presentations, and the same care applied to commercials: a mix that makes the spot land in the first three seconds, wherever it's playing.
