Music & sound / Ron Millar
I make music, give characters a sonic personality, and build instruments to explore what comes next. From a patch cable to a playable world, sound has always been part of how I create.
Sound for worlds & characters
My contribution reaches from recording and shaping a sound to making it respond in the experience.
Sound design · Spatial audio · Implementation
Giving a mechanical character a voice through sound. Foley, layered effects, and an Ableton-to-Unreal workflow that evolved with the film.
I’m also the little “Hello” at the end.
Foley · Sound editing · Unreal implementation
Created and edited character Foley, including footsteps and fabric movement, then integrated and timed sounds to animations in Unreal Engine.
Sound that gives small movements a physical presence.
Spatial sound · Music · Voice direction
Sound, music, dialogue, and voice direction alongside game design and scripting, helping a playful world respond to the player’s hands.
Creative direction and implementation working together.
Sound effects · Unity implementation · Audio QA
Integrated and tested audio in Unity, worked with engineering on sound hooks, and reviewed music playback on phone speakers and earbuds.
My music work here was review and mastering guidance.
Tools for making noise
Years of playing synthesizers inform how I design tools for other creative people.
BEMUFO / Explore the instrument A software instrument of my own
Product design, original DSP, and a tactile modular patching interface built with C++ and JUCE.
Sounds for other musicians
Created samples, drum kits, patterns, and presets for Xfer’s drum instrument.
An evolving musical system
Generative ambient music on Tulip CC, connecting harmony, effects, and visuals.
My Nerve contribution was its musical content: samples, kits, patterns, and presets. BEMUFO is my own instrument project.
From my sound notebook
Imagine a Foley artist wandering through starships, recording their machines: matter transporters, plasma converters, and devices with purposes we can only guess at. That’s the premise behind a body of sound work I called Starship Devices—worldbuilding with your ears.