Hey,
I’m Lukas.
I’m a freelance game sound designer and composer based in Germany. Working as Syndrone, I use middleware like FMOD to create music and sound that adapt to players’ choices. It’s all about creating immersive audio that elevates the gaming experience.
Email me about your game
A few projects I’ve enjoyed working on. These clips are gameplay without commentary, so you can hear how the audio works in the game.
My contribution: Sound design · FMOD implementation · Mix
I created and implemented the sound design for Super Meat Boy 3D, crafting the sounds from scratch and bringing them into Unreal Engine 5 with FMOD. I also handled the final mix, balancing music and SFX. Designing all those fleshy sounds was a lot of fun, especially for a vegetarian!
My contribution: Sound design · FMOD implementation · Mix
I designed and implemented a skiing soundscape that reacts to speed, snow depth and g-forces. It captures both the rush of a fast run and the calm of a gentle descent. With no music in the game, the sounds of skiing and the surrounding world carry the experience, shifting from quiet to intense within seconds.
“The audio for this is especially great, the crunch of the snow never getting old no matter how many times we cut through it.”
My contribution: Sound design · FMOD implementation · Mix
For FLOTSAM, I created sounds that fit the game’s comic style, with a playful, slightly mischievous character. The audio brings the drifters’ handmade machines to life and adds to the atmosphere of a flooded world built from floating rubbish.
My contribution: Sound design · FMOD implementation · Mix
My former colleague and I handled the sound design for Downhill. The game is all about racing down mountains and crashing in spectacular ways. Its minimal visuals leave room for the audio to reveal a richer world. We used FMOD to create ambiences that change from exposed peaks to dense forest, with bike sounds that respond to different surfaces and make every bump feel tangible.
“The sound design, a combination of wind, birds, bike chains, and wheels on dirt, is exquisite.”
“I found it deeply soothing, partly because of the soundtrack of tweeting birds and rustling leaves […]”
My contribution: Music · Sound design · FMOD implementation · Mix
A filthy 3D platformer about demons, angels and the chaotic creation of Satan’s birthday pie. My colleague and I composed the soundtrack, designed the sounds and implemented the audio in-game. An absurd amount of fun, with catchy music, squelchy sounds and weird grunts everywhere.
“The music is actually quite catchy and varies from world to world, keeping the presentation fresh. The sound effects, too, are appropriately squelchy and gross.”
“Hell Pie features a soundtrack that ranges from intense metal to more whimsical and upbeat tunes, matching the chaotic nature of the game perfectly.”
I create immersive sound effects and ambiences that give a game’s world its character. I especially enjoy audio that changes with the way people play, from the texture of snow under skis to the workings of a handmade machine.
I compose music to support a game’s world and the stories it tells. That can mean a catchy theme or a full soundtrack, like the music my colleague and I created for Hell Pie.
I bring music and sound into the game using FMOD, making the audio respond to player actions and gameplay states. I also handle the mix, balancing music, effects and ambiences as part of the experience.
Listen to a selection of my music for games, films and other media.
What I love about sound and music is their ability to tell stories and shape worlds. A great game can make players forget their surroundings, and audio is a big part of that. I enjoy creating sound that responds to player choices and gameplay, helping a world feel alive.
My love for games started with the Atari ST, and I’ve been playing ever since. Music was part of growing up, too. My mum played the piano and often sang to my sister and me. After years of playing saxophone and exploring other instruments, I went on to study music production in Berlin.
In 2011, I started Syndrone with one of my best friends, finding a way to bring my love of music and games together. I still run it today. Working as a composer and sound designer for games brings together so many things I care about, and I love seeing how each project gives music and sound a different role to play.
Yes. I work on music, sound design, FMOD implementation and mix. Some projects bring all of these together; on others, I contribute to a specific part. You’ll find my role listed with each project.
It’s how I connect sound and music to what happens in the game. In Snow Riders, for example, the skiing sounds react to speed, snow depth and g-forces.
Yes, I also compose music for films. You can hear a selection in the film playlist and find more projects in the full portfolio.
Tell me a little about your game, the engine you’re using, what audio you need and your rough timeline. A build or gameplay video is helpful, too.
The easiest way to reach me is by email. Tell me a little about what you’re making and what you have in mind for the audio. I’d love to hear about it.
info@syndrone.deOpens your email app. You can also copy the address above.