Marcus Milosevic · VERAXON
I design sound for games, film and brands, produce custom music and help artists find a sound that is theirs. The craft comes from years of production. The thinking comes from applied study of music psychology and auditory perception.
“MR. TAKE YA B*TCH”, a record I am credited as one of the producers on.
Reported total across my production credits.
Production, composition and sound design.
01 · Who I am
I started making beats in 2018, while I was still at school. When COVID arrived I didn’t go straight to university. I made music constantly.
Somewhere in that obsession the question changed. Not “how do I make this sound better?” but “why does this make someone feel anything at all?” Why does one melody vanish and another stay for years? Why do some sounds feel like part of who someone is?
That question pulled me into music psychology, auditory perception, attention, emotion and memory. I tested what I read inside real records, and the work went on to live with artists including Lil Mabu, Lil Baby and NBA YoungBoy.
Then the question grew past records. Brands and designers knew what they looked like. What did they sound like? Games had worlds and rules. What did those feel like to hear? That became Neural Music, my framework for finding the identity in something and translating it into sound.
“Your sound is not something I give you. It is something we uncover.”
02 · Skills
01
Games · Film · TV · Brands · Artists
Effects, interface sounds, ambiences, drums and synths built from scratch, so every sound belongs to its world. I design for how people actually hear: what the ear catches first, what the brain tires of, and what the mind remembers.
02
Artists · Games · Film · Brands
Original music written and produced around the person, project or story, instead of forcing the brief into a generic sound. We can start from references, a demo, a picture, a game loop or simply a feeling.
03
Brands · Fashion · Studios · Products
A brand already has a look. I build what it sounds like: a recognisable system of sound drawn from its identity, values, visual language and audience, from a single audio logo to a whole sonic world.
04
Artists · Creators
Most artists don’t have a talent problem. They have an identity problem. In 1:1 sessions I help you find the thread under your references and unfinished songs, and turn it into a production language you can keep using.
It builds on Neural Music’s Inner Sound model: four rooms, in order. Where you were placed, what you lived there, who you became, and what resonates with you.
03 · Sound design
A game, a film, a brand or an artist: every sound I make passes through three stages before it means anything. The ear has to hear it, the brain has to notice it, and the mind has to decide what it means. Psychoacoustics, neuroscience and psychology each shed the most light on one of those stages, so I design with all three.
The ear · Psychoacoustics
Hearing is a translation, not a recording. The ear is most sensitive in the upper midrange, so how loud a sound feels depends on its frequency. A louder sound can hide a quieter one close to it in pitch, which is called masking. Much of what tells you what made a sound lives in its attack, the first fraction of a second. And the brain will hear a bass note from its harmonics alone, even when a small speaker can’t play the note itself.
What I do with itShape every attack on purpose, give each layer its own space in the spectrum, and design low end that still reads on a phone.
The brain · Neuroscience
The auditory system is tuned to what’s new. A sudden onset can turn your head before you’ve thought about it, and a sound repeated unchanged slowly drops out of attention. The brain is also constantly predicting what comes next. One well-known study of musical chills linked dopamine release to both the build-up and the peak, suggesting anticipation is part of the reward.
What I do with itVariation where a sound has to stay fresh, space and build-up before the moments that matter, and rhythm placed where the body should move.
The mind · Psychology
A sound heard alongside an event, a feeling or a brand often enough becomes a cue for it, and familiarity tends to breed liking, up to a point. People also link sounds to shapes and sizes with surprising agreement: higher, brighter sounds tend to feel smaller and sharper, lower and rounder ones bigger and softer. And what someone grew up hearing shapes what feels like theirs.
What I do with itChoose timbres that already suggest the right character, repeat what should become recognisable, and build palettes from what already means something to the person.
Together · One listener
A sound passes through all three stages in well under a second. A brand motif buried under a voiceover barely registers, however clever it is. A crisp interface click that repeats identically can start to irritate. A huge impact that doesn’t match what the audience expects can just feel wrong. That’s why I don’t treat these as three subjects. They describe one listener.
Same principles, four kinds of work
Games
Film & TV
Sonic branding
Artists
From scratch
Presets and sample packs, mine included, are made for many people to share, so they’re a start, not a signature. When I make sound for someone, the drums, the lead synths and the signature textures start from nothing, and every one is tested in the mix, on a phone speaker and on repeat. It’s slower. It’s also how you end up with a sound nobody else has.
Why it matters
Plenty of great sound designers work by ear alone, and the ear is a brilliant tool. It’s also easy to fool: it adjusts to whatever it has just been hearing, it tires over a long session, and a phone sounds nothing like a studio. What’s known about hearing, attention and meaning lets me make each call deliberately, explain it to a client and keep it consistent across a whole project. I think every sound designer should learn it.
| The shortcut | How I work | |
|---|---|---|
| Starts from | A library, and what sounds cool | Who is listening, and what they should feel or do |
| Judged by | How it sounds soloed in the studio | How it reads in the mix, on real speakers, the hundredth time |
| Repetition | One file, played every time | Variation where it should stay fresh, sameness where it should be recognised |
| Meaning | Taste alone | Taste, checked against how association, expectation and memory work |
| The result | A sound that impresses | A sound that fits, and stays theirs |
These are working principles drawn from online coursework and my own reading in psychoacoustics, music psychology and auditory neuroscience. They guide decisions; they don’t promise a particular listener response.
The toolkit
I work in Cubase, design sounds from scratch with Kilohearts’ modular instruments and effects, and finish them with a curated chain of leading third-party plugins, so the result is precise, clean and ready to drop into a project.
04 · Selected work
Listen & watch ↗
Production work across Lil Mabu’s catalogue, including “MR. TAKE YA B*TCH” with ChriseanRock, which reached #1 on the TikTok Billboard Top 50. I am listed among the track’s producers alongside Lil Mav, BS Beats and Mxrcy.
Also: “UNDERDOG SONG”, “ENGINE”, “TRIP TO THE HOOD”, “WICKED WITCH”.
Listen & watch
Listen & watch ↗
File 002 · Sonic branding · Fashion
Fashion begins long before the garment is explained. The sonic direction translates Roy Michael’s visual identity, movement and creative language into music, treating sound as another layer of the brand rather than background.
Creative direction, sonic branding, arrangement and identity-driven music development.
Listen & watch
Inspect board ↗
File 003 · Sonic branding · Concept
Identity has more than one expression. Phenotype explores identity through fashion, perception and sound, treating music as another visible, audible expression of the person underneath.
Sonic-branding concept and music direction. No launch metrics are claimed.
Inspect board ↗
File 004 · Sound design · Sound identity
A world of belief, consciousness and symbolism. The music’s job was not to decorate that world but to make it audible.
Original composition, sound design, arrangement and creative direction.
Sound design kits · Neural Music
For my own company, Neural Music, I design multi-kits under my producer name NAT08: drums, textures, synth presets and MIDI, sold to producers online.
(opens a larger view)
Multi-kit · Neural Music
The kit that named the sound: six months studying how trap, film score, ambient and industrial music are built, then hybridising them into one sound I called Neural Music.
Neural Music: Neural Network kit (opens in a new tab) BeatStars store (opens in a new tab) ProducerWAV: Neural Network kit (opens in a new tab)
Multi-kit · Neural Music
A tighter kit of drums, effect presets and melody MIDIs, built to take beats and melodies further.
BeatStars store (opens in a new tab) ProducerWAV: Neural Plane kit (opens in a new tab)
(opens a larger view)
Multi-kit · with SPM
A collaboration with SPM: a futuristic hybrid kit of drums, percussion, accents and textures.
Neural Music: Synaptic Syndrome kit (opens in a new tab) ProducerWAV: Synaptic Syndrome kit (opens in a new tab) Kit single on Spotify (opens in a new tab)
Multi-kit · Neural Music
A multi-kit released through the Neural Music store.
Indie games
Game
[Studio] · [Role: SFX / UI / music]
[One line on what the sound had to do]
Game
[Studio] · [Role]
[One line]
Game
[Studio] · [Role]
[One line]
05 · Credits
MR. TAKE YA B*TCHLil Mabu & ChriseanRock↗
BIG DOG SH*TLil Mabu & Lil RT↗
TRIP TO THE HOODLil Mabu↗
балерина (ballerina)Babyface Melo↗
UNDERDOG SONGLil Mabu↗
WICKED WITCHLil Mabu↗
ENGINELil Mabu↗
URBANIST SESSIONS #100Petre Ștefan↗Listen
A playlist of selected production credits. The player loads only when you ask, and nothing plays until you press play.
Open the production playlist ↗ My sonic palette: influences ↗
06 · The Neural Music approach
The same five stages run under a single artist session, a brand identity or a game’s whole sound. The output changes. The process stays the same.
Where you are now: what you’re making, what you want it to communicate, what you’ve tried and where the friction is. For a studio, that means the game, the audience and the feel you want.
Beneath references and trends to the identity underneath: influences, memories, taste, visual language, values and the patterns that keep appearing.
The pieces become a system. How those instincts translate into tension, rhythm, density, space, timbre, tempo, harmony and texture.
Identity becomes sound through composition, production, arrangement, sound design and sonic direction.
Not only the files, but a language you understand well enough to keep using: a track, a sonic identity, a sound logo, a palette or a full set of game audio.
07 · Services
From one focused conversation to an entire sonic world. All prices in USD; sound design for games, film and TV is scoped like a production or branding project.
01 · Sonic branding for brands
$1,000 to $10,000 per project
A recognisable system of sound built from your identity, values, visual language and audience. Smaller projects focus on one asset or signature; larger systems with several assets and applications extend toward $10K.
Start with a free discovery call.
Scope your sonic identity02 · Custom music production
$500 to $1,000 per custom track
Original music for an artist, project, game or story. Final pricing depends on complexity, revisions and deliverables.
Start with a free discovery call.
Book a production call03 · Brand sound identity consultation
$80 per hour
For founders, designers, creative directors and studio leads who know the brand or game visually but need its sonic language. We turn identity, audience and references into practical sonic principles and a next-step roadmap.
Your first discovery call is free. Consultation sessions are $80 per hour.
Book a free discovery call04 · 1:1 artist sound identity session
$50 per 60 minutes
A focused session on your identity, influences, sound palette, vocal character and next creative decisions. The goal isn’t to sound more professional. It’s to sound more recognisably you.
Payment is required to confirm your session.
Pay & book a 1:1 session08 · Study
Alongside production I keep studying music psychology, auditory perception, attention, emotion and memory, and test it inside real projects. Science informs the framework. It doesn’t replace taste.
Online coursework via Coursera. Certificates of completion, not degrees or clinical qualifications.
09 · Start
If you already know the sound, I’ll help you make it. If you only know the feeling, we can start there.
Project discovery calls are free. Coaching & assessment sessions are $50 for 60 minutes, paid upfront.
