A man with a beard, wearing a red cap backwards and headphones, sitting on a dirt trail with a yellow dog wearing a red bandana. The man is smiling and holding a camera, with a motorcycle nearby. The background shows a wooded area with sunlight filtering through the trees.

Theodore Ludwig Weckbacher III

When I was a kid, I spent my days at Grammy’s house, where she had The Legend of Zelda on NES. And after long days of exploring Hyrule, I’d go home to my parents’ old, beat-up, 1980s Casio keyboard and try to recreate the sounds and melodies from the game. 

I’ve always been fascinated with how sound and music interact with players to enhance gameplay.


In college, I learned a variety of production techniques for both music and audio. After graduating, I worked as a composer and sfx creator for a variety of media, including small indie and mobile games. 

Then in 2020, I was approached by a friend in need of a sound designer for a live, immersive installation. With this project, I was introduced to Unreal Engine, along with other real-time, object-based audio workflows, and it changed my whole perspective on sound.

I realized the potential to combine my love for games with these newly honed technical audio skills. So, I took on opportunities that would challenge me to approach sound design from a technical standpoint, and help me break further into the gaming industry. 

Now, I work with development teams all over the world to provide original audio for a variety of games and  help teams integrate customized audio solutions for efficient and immersive soundscapes that  enhance gameplay.