(2013-2016)

“We provide an environment in which personal artistry is encouraged and creativity is inspired.”

— Jason

Studio Daisho LLC was a music composition, sound production, and audio production business rooted in the heart of Richmond, Virginia. Active from 2013 to 2016, the company was co-founded by partners Jason Lee Rosa and John Wells Anderson—who also served as the studio’s primary composers and audio specialists. Studio Daisho was the culmination of a decade-long journey performing, writing, recording, and producing as professional musicians. Later in 2014 Albert Clanton (as Studio Manager/Producer) joined & Sung-joo Byun (Graphic Artist).

Daisho” (pronounced dye-show), meaning "big-little," was a term historically associated with the samurai of feudal Japan. It referred to the pairing of a long and short Japanese sword (nihonto) worn together—traditionally the katana and the wakizashi—which served as a defining symbol of the samurai class.
While the long sword was suited for open, unconfined spaces, the short sword was designed for close quarters or indoor settings. This pairing represented tactical versatility, offering the right tool for any circumstance.
Jason Rosa utilized that philosophy to define “Studio Daisho”. The name served as an expressive reminder that the partners' collaborative pairing allowed them to approach any project head-on with adaptable minds, versatile tools, and innovative creativity.
Studio Daisho offered originally created, written, and recorded music composition and sound production services for a wide variety of projects and mediums. Whether crafting sound effects for video games, writing impactful music for film trailers and teasers, or recording high-quality foley, our work spanned the entire auditory spectrum to give every project a truly unique sound.
Our unique approach ensured every piece was innovative and groundbreaking, steering clear of banal industry trends to protect quality and creativity. Whether a project required an over-the-top thematic orchestral arrangement or a simple 8-bit chiptune, we delivered audio tailored to exceed expectations.
Studio Daisho continuously built its gear collection to house a melting pot of acoustic, analog, and digital instruments—functioning much like a living museum. Our setup included a wide variety of compressors, audio interfaces, analog synthesizers, customized synthesizers and sound processors, vintage beat machines and unique sound pieces, percussive instruments, condenser and dynamic microphones, and MIDI controllers.
The studio infrastructure featured two customized MacBook Pros, a Mac Pro Tower, a PC tower, guitar heads and cabinets, various stringed instruments, and 32-bit to 24-bit mixing boards. This was complemented by a massive collection of virtual instruments, VST plugins, major DAWs (Pro Tools, Ableton Live, Logic Pro), rack instruments, and even custom "circuit-bent" instruments we built or acquired. The collection grew organically with every project we undertook.

Translating Vision into Sound

To help clients pinpoint their exact auditory vision, we often used concept pieces early in the design process. Translating feelings or abstract thoughts into musical terms can be challenging, so we bridged that gap using imagery and words as inspiration for short sample compositions.

For example, we took photographs of various textiles and fabrics, paired them with simple descriptive words, and wrote miniature compositions based on them. This gave clients a tangible preview of our creative approach and helped clarify the soundscape they wanted for their project.

ENOLA
(PC Game, 2014)

Studio Daisho created the original sound effects design and audio foley for The Domaginarium’s psychological horror adventure game, ENOLA (officially released in 2014 and recognized among PC Gamer's legacy features for top games of the era).

Moving away from standard supernatural monsters, ENOLA focused heavily on psychological trauma, human nature, isolation, and murder, all propelled by an intricate love story. Crafting the immersive soundscapes for the game was an immense undertaking that spanned over a year of intensive design work, and we were fortunate to collaborate alongside the exceptionally talented team at The Domaginarium.

Play it on Steam

One of the most challenging pieces of the project was creating the save file audio for the game. We designed a hybrid soundscape combining real-world audio foley with a synthesized, music box-like melody. Navigating the complexities of such a short file took weeks of fine-tuning, making it a defining micro-design choice that we were especially proud to leave our mark on in the game.

We composed a “Teaser Trailer” score for the sci-Fi/Thriller short film “the World of the Willows”

Composed the complete original soundtrack for Infinite Legacy (2015-PC Game), an indie open-world RPG. Designed full-instrumentation compositions and translated them into retro 8-bit tracks and sound effects optimized for game integration. Below is a complication highlighting key themes heard throughout the game in their original, fully orchestrated arrangements. Also including screenshots of the finished project.

Developed by Studio Daisho in 2015, The Center (PC Game) is a 3D Sci-Fi action-adventure title designed to push atmospheric storytelling and immersive gameplay forward. Controlling a distinct alien duo across a dark, thought-provoking landscape, the project featured striking isometric visuals alongside innovative adaptive audio engineering during boss encounters.

The Center's first in-game teaser trailer.

Rich Lore, Big Narrative.

A stylized 3D isometric Sci-Fi action-adventure game centered around a unique alien duo navigating a dark, atmospheric universe. Developed with an emphasis on immersive mechanics and dynamic audio design, the project seamlessly integrates adaptive boss-battle soundscapes with strategic player interaction.

Written and conceptualized by Jason Lee Rosa, The Center grew from a short story into an ambitious original project. Drawing inspiration from ThatGameCompany’s ‘Journey’ game, Joey Ansah’s ‘Street Fighter: Assassin’s Fist’ film series, and the indie sci-fi scene, Jason partnered with John Anderson and Albert Clanton to produce the title under Studio Daisho. Initially developed as a 2D isometric + side-scroller in Unity, the game later transitioned into a 3D isometric experience built in Unreal Engine.
The story follows ANU, the last martyr sent from an ancient alien race to Ciraric—a ravaged planet at the center of the universe. Though driven by a single-minded devotion to his mission, ANU uncovers a secret that forces him to confront his own existence and discover the power to change his destiny.
The Center was driven by a multidisciplinary team of over 20 indie creators and high-profile industry veterans under Studio Daisho. Spearheaded by Creative Director Jason Lee Rosa, the project paired innovative audio engineering with top-tier visual development. Key collaborators included acclaimed concept artist and illustrator John Giang (Industrial Light & Magic)—whose credentials span Marvel Studios, Lucasfilm, Disney, and films like The Avengers, Iron Man, and Pacific Rim—among others.

Cindy Raggo Concept Art The Center Game Studio Daisho

The Crash Sequence — Matte painting concept art by Cindy Raggo, depicting ANU’s dramatic arrival.

Main Characters

ANU

(uh-nyoo)

A genetically engineered sentient being designed to be an “aid” or “servant”, to an advanced alien race. His true form is housed within an EMU (Extravehicular Mobility Unit) and when detached from this shell, he is more vulnerable. Although weaker this form allows him to be more streamlined in terms of functionality and movement, with his primary movements being rolling, leaping, and jumping.

HEX

An assist artificial intelligence, which was designed to aid creatures such as ANU. These companions primary objectives are to monitor, assist, teach (for more adaptive countermeasures) and reinforce the main mission. The devices paired with ANU is model “HEX” and the name refers to the Unit ID, this model is catered for “off-world exploration missions”.

(heks)

Lead Engineer

Eleanor Parks

We depend on this engineer to transform conceptual requirements into robust technical solutions that integrate seamlessly with existing infrastructures.

Client Services Manager

Karl Holland

We empower this manager to maintain proactive client dialogue, demonstrating our accountability while anticipating emerging needs with tailored solutions.

Collective Excellence

Monet Goode

Chief Executive Officer

We count on this visionary to define strategic priorities, allocate resources responsibly, and ensure every decision reinforces long-term value creation.

Head of Operations

Emmett Marsh

We trust this leader to synchronize production, logistics, and support functions, cultivating dependable processes that uphold our service commitments.