Journey
Music implementation · Monty Mudd and Ted Kocher
The score assembles itself from a library of pieces as the player moves: the layers, the companion who wanders in, and the long climb at the end. Score by Austin Wintory.
Select a track
Every credit, 2009 to 2026, over Ted’s Science Museum cue from Spider-Man: Miles Morales.
Twenty-one games, one reel each: how the score listens to the player, what it is allowed to change, and when. Overlays are representative visualizations, not engine data.
Music implementation · Monty Mudd and Ted Kocher
The score assembles itself from a library of pieces as the player moves: the layers, the companion who wanders in, and the long climb at the end. Score by Austin Wintory.
Music design and implementation
Eight stereo stems per piece, about 64 layer configurations, morphing continuously around how the player plays. Never the same twice. Score by Joel Corelitz.
Cinematic and gameplay music editorial
Hillcrest: tension that builds in short phrases and resolves at a musical boundary, not on the last kill. Score by Gustavo Santaolalla and Mac Quayle.
Cinematic and gameplay music editorial
The hotel basement and the kitchen: where each cue starts, where it ends, and what carries across the cut. Score by Gustavo Santaolalla.
Lead music designer
Music design for a live-service hero shooter, recorded at Abbey Road. Score by Daniel Pemberton.
Music production and editing
Exploration, approach, alarmed, standoff, combat, endtag: a score that follows the samurai from the long grass to the duel. Score by Ilan Eshkeri and Shigeru Umebayashi.
Music editing
Traversal intensity driven by swing speed, altitude and time spent swinging, handing off to combat and back. Score by John Paesano.
Composer · sound designer
Ted’s own music in the game: the Roxxon jingle and ad bed, the science center’s Earth, Space and Water, and the phone’s ringtones and notifications.
Composer
Club Nefarious, and Dr. Nefarious’s elevator music. Score by Mark Mothersbaugh and Wataru Hokoyama.
Composer
Source music: the techno at the Italian auction and the Madagascar market. Score by Henry Jackman.
Music editing
One-shots cut to picture, loops for fights that could go on forever, layers for stealth, and a chase stitched together on the beat. Score by Greg Edmonson.
Music editing
One camera, no load screens, and the music is no exception: every seam in the Baldur fight. Score by Bear McCreary.
Music supervisor
A Grammy-nominated score, recorded at Abbey Road. Score by Bear McCreary.
Music production and editing
A score recorded with orchestra in Nashville, cut to a game that won Best Audio Design at The Game Awards. Score by Sarah Schachner.
Music design
An orchestral score inside a shooter, G.A.N.G. Best Interactive Score 2018. Score by Wilbert Roget, II.
Music design
Mixed, mastered and edited into the game at Sony’s Bridgepointe Studios. Score by Sarah Schachner.
Music editing
Three layers of short chunks, chosen at random and stitched on the beat, moved up and down by the enemy count. Score by Marc Canham, Nathan Whitehead and Brain.
Trumpet · clavinet · Hammond B3
New Marais gets a horn section and an organ. Ted plays on the score. Score by James Dooley, Jonathan Mayer, Brain and Galactic.
Score development and implementation
Ted’s first Sony contract, with Bear McCreary: a score built to follow the mission, insertion to extraction.
Cinematic music editorial
A puppet show with a narrator, an audience and a full orchestra: cues placed to the stage and carried across the curtain. Score by Patrick Doyle.
Music implementation
Four layers that assemble themselves as the player picks up passengers: ambient, melodic, bass, percussion. Music by Ghostly International artists.
Seventy-four titles, newest first. Gameplay from public captures; roles as credited.
Off the clock, Ted records esoteric electronic ambient as POUROVER and plays vintage keyboards, trumpet, and Omnisphere in KBD Trio.