Hi there! My name is Vitor and I help narrative-driven game developers to craft immersive experiences through high-quality dynamic audio.

I’ve been immersed in sound and music since a very young age. I used to line up my mom’s pots to play “drums” and also joined in various (not so great) punk bands during high school. But I quickly discovered audio’s role in enhancing visual storytelling. In 2018, I moved from São Paulo, Brazil to Vancouver, Canada to study Audio Production and improve my skills.

I also grew up playing games and have always been amazed at their ability to transport me to different worlds. From humming the memorable melodies of Super Mario 64 to feeling the dread when hearing a clicker in The Last of Us, all my favorite videogame memories have great audio tied to them. Fast forward to today and now I have the privilege of doing exactly that: create long-lasting emotional moments and contribute to players’ immersion inside the game’s world.

Aside from that, I also like to create videogame music remixes/covers like this, explore nature, and distract myself from the fact that Metroid Prime 4 is still really far away…..


Gedda Cake

Gedda Cake is an indie 2D Action Platformer in development by Flannel Bear Games where you follow the journey of 6 dragon siblings through their homeworld to find out who (or what) interrupted their cake supply. As the audio lead of the project, I am in charge of creating the music and sound effects of the game, as well as implementing them using FMOD. Make sure to follow Gedda Cake‘s development and play the demo on Steam or

Crafty Survivors is a Bullet-Heaven Roguelike where you fight hordes of enemies playing as a various cast of different crafty professionals. Choose between a Chef, a Sculptor and many more characters to create your own builds and save your village. As the Audio Lead, I’m responsible for creating and implementing music and sound effects for the game.

Crafty Survivors is available in Early Access on Steam.

MerFight is a 2.5D fighting game (3D graphics, 2D gameplay) with 12, aquatic-themed characters. Developed by one of the leads behind Battle High, it features unique meter management and a dash canceling system. MerFight also focuses on “pick-up-and-play-ability,” through a lenient input system that allows novices to get started quickly while rewarding more experienced players. MerFight is still in production, but it is currently available for free while in alpha on and GameJolt and it’s planned for Early Access on Steam later in 2021

Eyes of Iyre is a Visual Novel with heavy RPG elements. Follow Barbak the Orc as he discovers more about the world and his past, all the while trying to keep his temper under control. Make friends, cast magic, and learn the truths hidden in the city of Iyre!

The demo is available on Steam and contains both my music and sound design work.


LUCID Sound Design: Boss Effects Breakdown

In this video, I break down a couple of sound effects I show how I approached each layer balancing the retro and modern audio aesthetics that are key to the game. LUCID is a 2D Celestoidvania currently in development by The Matte Black Studios and you can follow the  journey here and help by wishlisting it on Steam.

Gedda Cake Sound Design: Dynamic Ambience System implementation

This breakdown showcases the system I built within FMOD for the forest area of the indie game Gedda Cake. It shows how I created an organic and dynamic soundscape that also accommodates for the day/night cycle that the game has. You can experience this ambience system for yourself by playing the demo on Steam or

Gedda Cake's Boss Vocalization Breakdown

This video showcases how designed the roar for Gedda Cake’s first boss, Baggy. I explain all the source recordings used as well as the processing and layering behind this sound effect. Make sure to follow Gedda Cake’s development and play the demo on Steam.

Unravel Two Redesign: Fairy Movement Breakdown

Another short clip to demonstrate how I recreated the fairy movement sound for Coldwater Interactive’s Unravel Two, using (for the most part) an aluminum foil scrape sound. My approach on this was to try and see how much I could extract from one single sample, using various effects and techniques.