Hey, I’m Matityahu. I work with DAWs, music tools, foley, ambience, and procedural SFX. I’ve spent time inside real production pipelines — integrating audio through code, building interactive behaviors, and experimenting with Wwise workflows.
For me, great games aren’t just visuals — they come alive when sound and gameplay react to each other.
I write music under the nickname Matthew Anett.
A collection of my music: pieces written for cinematography students’ graduation shorts, early compositions, experiments and released tracks. It’s a mix of styles — from atmospheric and cinematic to more rhythmic pieces — but all of them reflect how I naturally write when I’m not following project constraints.
From a 24-hour game jam. Our team made a small gothic visual novel, and I wrote a music piece using choir and pipe-organ VSTs. Even with the crazy time limit, the atmosphere landed nicely — dark, moody, cathedral-ish.
A funny one. This was made for a pilot of an entertainment show where popular guests had to play custom-made games. Our studio was asked to recreate a Mortal-Kombat-style fighter in 2D pixel art featuring pixel versions of those people.
My role was to make all music and SFX — inspired by classic MK vibes, memes, and the personalities of the guests.
The main theme nods to Techno Syndrome, while the fight tracks are more original. I used a mix of synths, orchestral VSTs and a bit-crusher to get that gritty retro sound.
Worked on a stripped-down GTA-inspired game, creating footsteps, weapon sets, and car sounds that fit its minimalist look and arcade-like feel. Used Wwise for integration, building interactive systems that tied the sound tightly to the player’s movement and actions.
This one is special. Let’s say it lives in the “fan-made dubbing” category.
I worked with a volunteer Belarusian dubbing group whose goal was simply to make more media available in Belarusian. They recorded new voices for One Planet and Love, Death & Robots, and I handled the audio side.
I extracted voices from the original 5.1 mix (center channel), replaced them with the Belarusian recordings, cleaned and processed the dialogue tracks, and rebuilt everything into clean stereo mixes while keeping all original SFX and music intact.
A tiny job from the hypercasual workflow era. Just a short pre-baked animation sequence where I added all the SFX — impacts, whooshes. Quick and simple, but still fun to shape.
This project somehow became way bigger than it was supposed to.
Originally it started as a couple of ads for a Minecraft-like game using Coin-Master-style slot mechanics. I did music and basic SFX for those ads — easy enough.
But then the publisher wanted us to iterate the actual game, and suddenly I was doing full music tracks, ambience, foley, and a huge amount of block/footstep sounds for different materials.
The music was inspired by the calm Minecraft atmosphere, but I wrote everything from scratch — including a nice felt-piano main theme I still enjoy.
A small footsteps library recorded on my Zoom H1, cleaned and organized into surface categories. Compact, simple and practical — a nice technical exercise in clean raw recording.
All project files Asset Store PageThank you for taking the time to look through my work. Every track and every sound here — large or small — carries a bit of how I hear the world. Even in game projects where audio supports gameplay first, I still treat it as expression.
If any of this resonates with you, I’m always open to new collaborations.