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Tibet Kurt Sound Design

Sound Design Portfolio

Hi! My name is Tibet, I’m a Sound Designer and Music Producer. I’m passionate about creating immersive audio experiences for games, films, and interactive media. This site is a space to share my work, projects, and creative journey.



Legopool & Wolverine is a fan-made LEGO recreation of the Deadpool & Wolverine intro scene, created in collaboration with talented filmmaker and animation designer Nako Films.

As the project’s Sound Designer, I took on every aspect of the audio pipeline: sound effects, ambience, dialogue, ADR recording, ADR editing, music editing, and mixing. I also cast the voice actors and personally recorded their performances in ADR sessions.

This project was mixed by me for both 5.1 surround and stereo, ensuring an immersive experience across formats. In many ways, I served as a one-man audio crew, overseeing the entire sound design process from start to finish.

Incorporeal is a dungeon crawler where players step into the role of a treasure hunter with the unique ability to sever their soul from their body. Using this spectral form, you can dash through traps, strike enemies, and solve puzzles—all while keeping your vulnerable body safe in the treacherous catacombs.

For this project, I crafted the game’s audio world by designing sounds that blend synthetic elements with real-world recordings. My work included creating immersive effects for spectral abilities, atmospheric dungeon ambiences, and impactful combat cues, bringing the gameplay to life and heightening the sense of tension and discovery.

For the sound redesign of Spider-Man: Across the Spider-Verse, I aimed to create an immersive and dramatic atmosphere by blending organic and synthetic sounds. I enhanced the explosions using layered firecracker and gunshot elements, combined with experimental synthesizers for added intensity. Foley played a crucial role—particularly in the dreamy black-and-white scene, where I used a rusty metal door creak as the base for the ambient layer, reversing, looping, and processing it with pitch shifting and delay effects, to match the dark and sinister vibe of the scene. Every sound in this sequence, including the thunder at the end, was crafted from scratch to support the scene’s emotional and visual tone.

As a fan of indie games like Gris, Journey, and Neva, I wanted to keep the sound redesign for Hollow Knight simple but powerful. I focused on creating an atmospheric soundscape using subtle textures and clear sonic cues to reflect the game’s mood. At the same time, I used strong, punchy impact sounds to emphasize the satisfying combat and action Hollow Knight offers, making each hit and movement feel meaningful without overwhelming the player.

For Arcane sound redesign, I was inspired by the scene’s visual rhythm and emotional weight. The scene gave me a distinctly “blue” feeling, which I translated into sound using textures of ice, glass, and static electricity. I layered cold, electric tones to match the visual atmosphere and build a sense of unease. As the sequence unfolds, we witness the same explosion from different perspectives, which gave me the opportunity to explore variations in texture and tone. To heighten the tension toward the end, I added a tea kettle whistle—a sharp, unsettling sound that I felt added a fun yet disturbing twist. My goal was to make the viewer feel the chill and horror of the environment through sound alone.

For Celeste’s UI, I used organic sounds inspired by a mountain climber’s gear. When you hover over the options, you hear metal clicks like a climber securing themselves to the mountain. When you press “Begin,” you hear the character getting ready—tightening straps and putting on their gear—setting the tone for the adventure ahead.