GAME & FILM COMPOSER
GAME & FILM COMPOSER
LATEST WORK: ZOKAI
Zokai (“Zoological Yokai”) is a monster collecting game with a retro aesthetic. The Zokai have amazing supernatural powers and are collected by humans using Zokai Crystals since Stone Age, which create a telepathic link between both. The OST features Game Boy sounds only and was based on the legendary Pokémon Red OST.
TV & FILM
During my assistance to industry veteran Ricardo Leão, I reduced a lot of his workload by creating original music for commercials, a TV series called Pais de Primeira, and a comedy film called Sai de Baixo — all of them produced by Globo, the largest broadcaster in Latin America.
WESTWORLD SCORING COMPETITION
My entry for the Westworld Scoring Competition 2020, hosted by Spitfire Audio and HBO. Here I show my passion for hybrid scoring, which blends the timeless sound of orchestras with the futuristic textures of synth engines.
I’m an enthusiastic researcher of Brazilian regionalisms and collector of instruments from our euro-afro-indigenous culture, such as 10-string viola, Native American flute, berimbau, marimbau, and many others. I also have high-quality loops and one-shots of surdo, zabumba and alfaia recorded by Letícia Salgueiro.
In my rare spare time, I’m composing an EP that combines contemporary cinematic music with traditional Brazilian rhythms.
Lastly, I was the post-producer/mixing engineer for Alan Bernardes’ album Maré Vazante, which had a modern production featuring many Brazilian rhythms, such as samba, coco, maracatu and baião.
MY APPROACH TO COMPOSITION
Hello! My name is Eduardo and I have 10+ years of experience in music production. I share an “urban jungle” home studio with a professional painter (my girlfriend) and our dog Wine on the beautiful hot coast of Rio.
To me, producing music (mixing and mastering included) is the act of sculpting sounds to create an auditive space that feels alive and real. The more intentional and better crafted that space is, the easier we can picture a place in our minds in relation to it.
When it’s a pop song, we usually aim to recreate a live setting for the singer, like an arena or small studio. But if it’s an instrumental, that space can be a rainforest full of alien machines, a multidimensional wormhole, or a country house with cute purple bouncing slimes.
Everything can be enhanced with the proper sound textures, which stimulate our minds visually, making us give more attention to specific elements of the scene that trigger in us different kinds (and levels) of emotion.
I find it fascinating how the same melody played in e.g. a ukulele can trigger completely different emotions if played in a 80s synthesizer, especially in the context of visual storytelling.
So even though I’m a composer, I also consider myself a sound designer (or as I like to say, sound sculptor). My passion is to translate every single bit of YOUR vision into a unique sound palette, culminating in a unified original work of art.
HIRE ME NOW
I charge per minute of music and revisions are always free.
email@example.com | +55 21 999751172