Game Music & Sound

The soundscape in games is a vital tool to create authenticity in virtual realities, to guide the players perception and emotional mindset and simply captivate him/her. With its focus on interactivity and the related power of decision of the player, he/she needs to be addressed on both an empirical and an emotional level. This communication is significantly affected by the sonic perception, thus sound can fulfil a variety of tasks to enhance the immersion along with the classic feedback function.

Every game deserves an individual conceptual music and sound functionality design that extends the playing experience and thus considers its peculiarities and its technological, ideological, cultural, functional and economical specifications.

To implement these concepts I am offering a broad range of audio services for games, which consist of:

  • Music composition and production
  • Sound design and foley-recordings/-editing
  • Voice recordings/ -editing and direction

The individual music design is thereby diversified in terms of the aspired aesthetics, the level of interactivity, functionality and its scope – jointly compiled to match the game’s vision and budget.

If you are interested in a collaboration and want me to be a part of your project, or just want to know more about my work, feel free to write me an Email to Smaller projects where I can work in a wide range of tasks are just as interesting for me as bigger projects where I will be a part of a team, working on specific tasks. The overall vision of the game is always the main focus.

A recently finished project to which I contributed the music and sounds is the augmented reality game OCULUS, developed by the Mediadesign Hochschule Berlin. It focusses on fighting monsters and collecting virtual ressources on a real Map and is available for free at the app store for every android device user with a google+ account.
It has a hidden party with a different visual and sonic fingerprint, only the players willing to take a risk will get to know. Here are the two versions of the game’s battle music as an example:

Other current projects are the endless Podracer “Fuck Yeah”, a Games Academy project which is controlled via two force feedback joysticks, where I created the music (Dubstep/Metalstep) and sounds and the Oculus Rift 4-D Horror game “Wake up” by the MD.H, which is controlled via a wheelchair, where I also contributed the sounds. Both games can be played at the Gamescom and Respawn Gathering this year.

Game Project Portfolio:

  • “Skull and Soul” – S4G – 2013/14 – Tower Defense Card Game – Music & Sound
  • “Gaia: Genesis” – Games Academy – 2013/2014 – First Person Fantasy Game – Sound
  • “Oculus” – MD.H – 2014 – Augmented Reality Game – Music & Sound
  • “Fuck yeah” – Games Academy – 2014 – Endless Podracer Arcade Game – Music & Sound
  • “Wake Up” – MD.H – 2014 – Virtual Reality Horror Game – Sound

Film Music & Sound

Sound and music can support, contrast or line the narration of a movie with additional information and layers in a variety of ways. Therefore it requires a dramaturgical comprehension of narrative concepts in addition to the technical specification and the examination of contemporary listening expectations.
Especially the music can serve as a source of information in respect of content and emotion as well as enhancing the dramaturgical progress of the story.
The most interesting part for me, is to merge the variety of sound layers to a interwoven soundscape that unconsciously electrifies the audience.

The scopes I offer include:

  • Music composition and production
  • Sound design and mixing
  • Voice recording and editing

My musical and sonic style is flexible, thus I am open-minded towards using classic and established concepts as well as creating experimental material.

An example of a piece, where I created the whole soundscape (Music/Sound/Voice recordings/Mix) is the short-movie “I am the ocean”, a collaboration with Sebastian Hilgetag (Direction/Cinematography/Editing) and Michael Krabbe (Narrator) – the movie was awarded with the PETA “Progress Award” in Juli 2013:

I am the Ocean from Sebastian Hilgetag on Vimeo.

Another movie that was also directed, filmed and edited by Sebastian Hilgetag where I created the music, vocals and mix is the fulldome short-movie “Listen Carefully”, that won the “Dissolving Space Award” and the “Audience Award” at the Fulldome Festival Jena in 2012. “Below your eyes” in the credits is the name of my own music project.

Listen Carefully from Sebastian Hilgetag on Vimeo.


  • “Auf das schöne Leben” – 2012, fiction, 18:15 min., Colour
    Format: Digi Beta, Mono – Director: Marlene Blumert – Sound & Music: Marie Havemann
  • “Innen/Nacht” – 2012, fiction, 5:23 min., b/w 
    Format: Digi Beta, Dolby Surround – Director: Rebecca Rahn – Sound & Music: Marie Havemann
  • “Listen carefully” – 2012, fiction, Fulldome-Movie, 6:05 min., colour
    Format: digital file, Stereo – Director: Sebastian Hilgetag – Music & Sound: Marie Havemann
    Awards: ‘Dissolving Space Award’ and ‘Audience Award’ – Fulldome Festival Jena 2012
  • “Round Midnight” – 2013, fiction, 23:40 min., colour
    Format: DCP / HD Cam 24 fps shooting format: s16mm, Dolby Surround – Director: Pablo Kaes – Sound & Music production: Marie Havemann
  • “I am the Ocean” – 2013, fiktion, Quicktime-Movie, 3:55 min., colour
    Format: digital file, Stereo – Director: Sebastian Hilgetag – Music & Sound: Marie Havemann
    Awards: ‘PETA Progress Award 2013′
  • “Lisa” – 2014, Documentary, 65:15 min., colour
    Format: DCP, Mono – Director: Clara Grötzinger – Dialog-Editing/Mix: Marie Havemann

Recording & Mixing

Working with bands and musicians as a recording and mixing engineer is a process I always enjoyed, thus I am still offering studio recordings for different purposes and budgets:

  • Studio recordings of single tracks or whole LPs
  • Premium Demo recordings
  •  Mixing 
  • Additional recordings for external productions
  •  Live-mix and -recording

Depending on what you are planning, we will find a way to achieve the sound that suits your music best – be it high class demo material to make an application for clubs or labels, or your own solo album that you want to market. In every project we will find out and highlight what makes it exceptional and I will do my best to syntonize to your needs to get the best out of your project. A studio meeting your requirements and budget can be organized if desired.

If you are interested in working with me, just write me an email to or use the “Contact” panel and tell me what you want to do. If you have a demo track or link to a live video, feel free to attach it. Afterwards we will check together how we can realize your vision. My prices depend on the studio or location where you want to record and the expenditure of time – which is affected by the form of exploitation, instrumentation/line-up, how many tracks you plan to do and how skilled you are as musicians.
It is also possible to book me as a FoH/Live engineer for your concerts, with the opportunity of a regular accompaniment of your concerts.
An example of an EP that I mixed is “Godzilla vs. Mega-Godzilla” by the stoner-rockband “Rusty Tongue”:

Another more acoustic and emotional example are the videos of the live studio session with “Some Poetries”. Together with cinematograph Sebastian Hilgetag I recorded and mixed the “Acoustic Kingdom Session”. The result can be seen here:

Audio Services

In addition to movie, game and band projects it is also possible to book me as an engineer for a variety of other recording purposes or sound specific tasks.
These also include smaller and short-term bookings. If desired, a recording studio meeting your demands and budget can be arranged.

The additional services I am offering are:

  • Voice recordings and editing for audio books / dramas or radio plays
  • Recording and editing for various audio applications
  • Recording and mix for applicational purposes
  • Live-engineering

If you have any questions about a possible collaboration, pricing or want to engage me as an engineer for your project, you can write me a message to or use the “Contact” panel.


  • The endless Podracer Arcade Game “Fuck yeah” will be showcased at the Respawn Gathering and even in its cabinet at the Gamescom 2014 as well as the Virtual Reality Horror Game and wheelchair installation “Wake up” – if you are there have a try and listen, they are both unique and really fun to play. I will also be in Cologne to visit the GDC Europe, Respawn and Gamescom as the audio engineer of a small press team. Feel free to contact me for having a talk or a drink.
  • The game “Oculus” is finally available in the Google-Play-Store as a free open prototype for all android users with a google+ account! It will be showcased at the Quo Vadis 2014, as well as “Gaia: Genesis” and “Skull and Soul” – two other games that I created the music and sounds for. I will also be there as a visitor and open for talks, meetings and a drink in the evening.
  • Listen Carefully” is part of the “Polynôme” in Montreal (Canada) – an event from 2nd until 18th of april 2014, where four fulldome movies from all over the world are showcased. The movie is shown in its original 360° fulldome version. Further information are available here:
  • After winning two awards at the fulldome festival in Jena 2012 “Listen Carefully” by Sebastian Hilgetag (Direction/Cinematography/Editing) and me (Music/Sound), our second collaborative movie “I am the Ocean” was awarded by the PETA with the “Progress Award” 2013 – a great honour for both of us!


The lifetime dream to become a “Tonmeister”, as we call it in german, that consolidates both audio engineering and composition was something I realized I want to achieve when I was 14. These two areas of expertise being inseperably woven have always fascinated me.
Inspired by bands like Tool and Nine Inch Nails I was and will always be craving for the full understanding of how a piece of music can sound that way and captivate that much. And it wouldn’t let go of me.

The impact that music and sound can have on narrations is immane and electrifies me every day anew. I want to make other people feel the same way – people you might not be able to communicate with on other levels –, work on movie and game realities where all layers intertwine to create a total work of art and write music that moves people and makes them immerse in worlds, they have not felt before.

Besides being a musician in bands I learned to play several classical instruments to widen my ken. As a child I had guitar lessons, as a teenager violin lessons and piano lessons since I moved to Berlin in 2007. I still play the acoustic and electric guitar and the piano as part of my compositions and although I quit playing the violin, it gave me a further understanding of strings in general and expanded my musical imagination.

After finishing the university-entrance diploma I made an apprenticeship as “Tonmeisterin” at the Deutsche Pop from 2007 to 2010. Thereafter I started freelancing and studied “Sound” at the HFF Potsdam, where I finished my Bachelor of Fine Arts degree in 2013. Since then I am studying in the Master course “Sound for Picture” (Master of Fine Arts), work as a self-employed composer and audio engineer. I also work for the Soundfloor of the nhow Berlin and VuenV Media GmbH on a regularly basis.


If you want to get in touch with me feel free to write an email to or use the “Kontakt” Panel below.
Thank you for visiting my website and have a great day!

Further information about my projects can be found on my blog: Viciousonic

And you can also find me on Facebook:



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