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Hello! My name is Isaac Smith, and welcome to my portfolio site. This site is dedicated to giving potential employers and other interested individuals an overview of my background, professional experience in the worlds of music and video games, and to provide examples of the work I've done, both in and out of the video game development process! If you have questions, please leave a comment, or email me at


Professional Work

As the realm of video game sound design is vast and diverse, I have developed a level of compositional versatility that is very valuable in any game development setting. However, my specialty is strophic electronica, techno and 8-bit-esque sounds. Please listen to and enjoy these samples of my latest work.


This piece, called “Soul of the Synthetic,” actually began as more of an experiment with a randomized arpeggiator and a patch I liked. As I progressed through it, I tinkered with some bass effects, trying to get a taste of the sounds Daft Punk produced in their “Tron: Legacy” soundtrack. My favorite thing about it is the hollow feeling and the sense of echoing that I created with the delay and panning effects. This was not written for a specific project.



“Invasion” was one of the initial pieces I wrote for the REPEL Project, one of JustIceCold’s current endeavors. REPEL is a futuristic game in which an alien race threatens humanity. While this scenario is common in science-fiction literature and video games both, JIC is taking a slightly less apocalyptic approach, making for a spunky, high-octane, engaging adventure. One of the features of this game is that it has multiple paths and endings, depending on choices you make during gameplay. I decided to take this concept to heart in the music. “Invasion” has a lot of melodic and harmonic material in it, which I used in other pieces in different, more developed and varied forms, to give a sense of familiarity to the music, affected and changed by the level environment and events.


This song was called “Herbie-vore” as a working title, because the melody patch I built resembles Herbie Hancock’s solo patch on “Chameleon,” one of the tunes on his Headhunters album. The bass in this patch was meant to be full of peaks and valleys, to obscure a sense of regularity, and make it seem like one long line. I employed a lot of filtering and effects in this patch, and I really enjoyed the change-up between a faster groove and a slower, more funky beat. This music is presented in a level where the player delves into the enemy’s production facilities in hopes of doing some damage.


This is the final track in my current portfolio, called “First Flight” as a working title. It will be used in one of the later levels of the game, in which the player (appropriately) will be making an aerial assault on the enemy. It is much more high-energy than Herbie-vore, but the harmonic fabric at the beginning is taken directly from it and altered slightly. Distortion is then applied to it to create a percussive, almost guitar-chunking effect, while the Herbie-vore bass returns, also altered to fit the mood of the piece. This piece is mainly in my portfolio not because it stands alone, but because it shows my ability to develop themes and create a unified musical sound for any game I compose for.


I hope you appreciated and enjoyed my portfolio! For any questions, please leave a comment or email me at

Thank You,


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