Sound designer
Johan Clifford
About me
Hello! I am Johan Clifford, a 23-year-old college graduate specializing in sound design, driven by an unwavering passion for sound and music production. Ever since I was a child, music has held a special feeling for me, providing a unique outlet for expressing my emotions unlike any other medium. This early connection with music eventually turned into a profound fascination with sound design and music production, as I yearned to explore and comprehend how sound and music could communicate not only my own emotions but also those of others.
In my creative journey, I thrive on experimentation, whether it involves recording foley sounds or delving into vast sound libraries. I relish the process of pushing the boundaries of sound until I craft something that is both gratifying and distinct. I firmly believe that this creative element in sound and music production holds the power to make a profound impact on audiences. Striking the delicate balance between meeting audience expectations and delivering a unique, characteristic sonic experience is pivotal for any successful production.
With an unwavering dedication to improvement, I continuously seek new methods and approaches in my sound and music creations. As a passionate and committed sound designer and music producer, I offer a wealth of creativity to any project I undertake. Thank you for taking the time to read my introduction.
Rayman Origins - Sound Redesign
My project focused on revamping the audio for the Rayman Origins trailer. The primary challenge I faced was my iterative approach, involving extensive trial and error. I tested different sounds for various sequences, even when the initial ones seemed suitable, to find the best audio elements.
This meticulous process aimed to understand which sounds best complemented each specific sequence. Over about a week, I gained valuable insights into sound creation for a game trailer.
The audio I crafted blended dreamy and playful sounds, capturing the essence of the gameplay. Careful selection and arrangement of audio elements created a harmonious fusion that enhanced the viewer's experience.
This project not only achieved the goal of redesigning the trailer's audio but also provided me with valuable expertise in the strategic thinking behind sound creation for game trailers. I used a soundtrack from another Rayman game as the background music which I thought was very fitting.
Technologies used
Nim & The Twin Suns
Nim & The Twin Suns marked my involvement in my third game development project. My primary role in this project was creating, mixing, and implementing sounds. This experience taught me valuable lessons in teamwork, planning, and sound utilization.
Through this project, I learned the importance of effective communication and planning. Clear communication and structured planning helped me work efficiently, reducing last-minute disruptions. The team's consistent communication ensured a shared vision for the game's sound, and feedback improved sound quality.
I also gained a crucial skill: planning the seamless integration of sounds from the project's beginning to end. This approach improved audio quality and allowed for well-defined sound creation from the project's outset. I also learned that different disciplines could solve some of each other’s challenges during the project.
Technologies used
Viking Village
The main objective of this project was to infuse vitality into a previously quiet Viking village by skillfully incorporating sound. The overall soundscape, driven by the gentle rustling of the wind, seamlessly blends with the ambient sounds of waves lapping and seagulls' cries as one approaches the waterfront. Additionally, specific areas within the village were enriched with customized audio, tailored to each location's unique characteristics.
For instance, by the village's boat, visitors experience an auditory tapestry resembling a bustling crew diligently working with various tools while harmoniously singing. I also incorporated invisible objects strategically placed throughout the village, programmed to follow predefined paths in the air and on the ground. These objects emit sound, enhancing the illusion of a vibrant, inhabited village. At ground level, the objects produce sounds resembling the footsteps of people moving about, effectively simulating the presence of villagers. In the sky, the objects emit bird noises, faithfully recreating the sensation of birds soaring overhead and further enhancing the village's lively atmosphere.
Technologies used
Teylos City
Teylos City marked my second game project—a futuristic, neon-styled metropolis controlled by an evil corporation. Players follow "Sunset Savior" as she gracefully glides through the city on inline skates, battling menacing robots. The main challenge was accurately capturing the game writer's vision through sound, which we achieved through communication and trial & error. Teylos City's dark ambiance blends rain, wind, and thunder with city-related sounds. Combat audio features laser-like gun sounds and impactful metallic impacts.
Our sound design enhances the immersive experience, bringing the game world to life. The true challenge of this project was not in implementing the sounds, but rather in creating them from scratch, as the unique environment presented a new and unexplored territory for my sound design.
Technologies used
God of War - Sound Redesign
In the process of this sound redesign, careful consideration was given to prioritize specific sounds for heightened listener impact. In this particular project, emphasis was placed on elevating the slash sounds of the chains and the eerie screams emitted by the monsters. Recognizing the significance of these sounds to meet or exceed listener expectations, meticulous attention was devoted to their quality and prominence.
While the prioritized sounds took precedence, equal care was taken to ensure that other elements such as ambiance and footsteps were crafted with great detail. The intention was to strike a delicate balance that allowed the prioritized sounds to shine while maintaining an immersive and richly detailed sonic landscape.
Technologies used
Music Creation
In the autumn of 2020, I embarked on a new journey driven by my deep passion for music, aiming to learn how to create trap beats. Specifically, I focused on subgenres like "Plugg" and "Vaportrap," known for their combination of impactful drums and dreamy melodies.
As my skills grew, I seamlessly integrated these melodies into some of my own projects, enhancing their immersive soundscapes and overall experience. This fusion of music and game development allowed me to harmoniously unite two creative domains. Through the blend of rhythmic power and evocative melodies, my aim is to evoke emotions and enrich the interactive experiences players encounter in these projects.