About Matt Gabnai

Above all, I’m passionate about the realm of audio in an entertainment context. I think the perception of sound is about 25-30% of all of our senses, one which never naturally shuts down even when asleep, and in a cinematic/videogame context, it’s very often overlooked. Like casting for a TV show, audio can just as easily elevate a good story arc, as a bad integration can ruin it.
All my life I trained myself to hear the smallest of details. I had my formal training as a musician in Budapest where I was born, then in London I got a sound engineering degree. Shortly after that, I moved to France, and it’s been 10 years I’m trying to put these skills to good use.
Integration and audio direction in videogames or cinema is what trembles my feathers. Good, well-produced music that’s rich in detail, that can give the user/gamer an experience that’ll accompany them for a lifetime. Good composers know this: Romolo Di Prisco, Mick Gordon, Hans Zimmer, JunkieXL, Alexander Brandon, Bobby Prince, Nobuo, and SO many others understood exactly what’s necessary to give a good experience, while also understanding hardware limitations, project direction, all of them respected deadlines, were more than capable of working together with Art Directors, programmers, engineers.
My wish is to further their legacy. Having been keen on understanding machines since my early childhood, I’m eager to learn and work with new technology; one of the reasons why I was hired to accompany the development of a metaSound module in Unreal Engine 5. As a musician, I look for harmonically rich content that matches the visuals; as an artist and a former gamer I understand the message a game should convey and how to translate it to sonic content; as a sound effets producer I’m capable of bringing all that together respecting the limitations of any current generation hardware or game engine.

The work I’m most known for was in Assassin’s Creed, but I have given classes about audio production (music and SFX as well), novelty in modern musical composition, I have also done hundreds of concerts over the last 17 years as an onstage bassist, because I constantly need to create things.
The works I’m most proud of are my involvement in the metaSound module of Unreal Engine 5, and very recently BraveNewMedia’s involvement in Yullbe, aka the Europa Park VR section, where we created a game for an underperforming hardware that’s still fun and highly replayable, for the fraction of the cost of a AAA game.