Audio Direction
I’ve been responsible for the creative direction and technical implementation of countless audio experiences, spanning 2D mobile titles to cutting-edge 3D action games pushing the boundaries of new hardware.
Served as Audio Lead, Composer, Sound Designer, and Voice Actor, and defined the game’s audio direction in collaboration with Heart Machine and Disasterpeace
Led a mostly remote audio team and achieved stylistic consistency between two sound designers and four composers on a project spanning 5 years of development
Built two fully-featured dynamic music systems to accommodate a huge variety of gameplay and locations
Developed tools to require little manual intervention for environmental sound design — atmospherics and point sources were almost entirely systemic
Shipped a performant, consistent audio experience for a simultaneous PS4, PS5, and PC release with custom-built Unreal 4 audio tools
Adapted and evolved the music aesthetic of the beloved Hyper Light Drifter to a fully 3D open world, in collaboration with Heart Machine and Joel Corelitz
Created and implemented a truly procedural music system in Wwise to match the ground-breaking procedural level generation of the game
Clearly communicated music system requirements to collaborators, resulting in low friction and fast iteration times on a system with high complexity (hundreds of unique audio files)
Took point on ambient systems and sound design, populating the procedural world with thousands of detailed point sources with no performance issues
Honed an “apocalyptic party” aesthetic for an original IP launched as a flagship VR title for Meta Quest 3
Ran an international team of sound designers and composers, delivering music & sound for 10 weapons, 18 enemies, and 6 bosses & stages in ~6 months of dev time
Supported gameplay clarity through careful mixing and asset creation in a game about chaotic, joyful destruction
Delivered quality, performant results in native Unity on the full range of Quest headsets