During the five years I spent at Build A Rocket Boy, I had the opportunity to contribute to almost every part of the audio experience, from designing deep ambience and weather systems to shaping punchy sci-fi weapons and hybrid vehicle engines.

As the project evolved, I took on senior responsibilities that involved making key creative decisions and collaborating closely with coders to build the audio systems that supported the game’s world. One of the most rewarding experiences was performing the final mix in 5.1, including HDR mixing and mastering for multiple playback environments.

Developed with Wwise and Unreal Engine 5.

(PC/PS5/Series X)

Everywhere was a sandbox of play where you could shoot, explore, race and build using player-facing design tools. I worked as part of the audio team to build its world and audio toolset for the public beta release.

Key responsibilities were the design of the game's audio systems, which I worked closely with the code team to develop, and SFX design for ambiences, weapons and the digital lifeforce that made up everything in the virtual world (what would later be known as "digital splatter"). 

Developed with Wwise and Unreal Engine 5.

(PC Only)

Working with around 200 other dedicated TimeSplitters fans to rebuild the original trilogy for PC in our free time.

I had complete control of audio direction, producing roughly 80% of all final SFX, building the game's ambience system in Unreal blueprints, creating the final mix of the game and managing of all the audio project files. I was also sole dialogue editor, working on over 100 character voices, and took on music mastering responsibilities to fit the game context.

Developed with FMOD and Unreal Engine 4.

(PC Only)

I worked with the team and Solid Audioworks to deliver Adios' gripping narrative experience.

My main role was editing dialogue for all the characters in the game, which helped me start developing editing processes I continue to use to this day. I also provided some SFX support by delivering ambiences and various interaction sounds.

Developed with Wwise and Unreal Engine 4.

(PC/Xbox/Switch)

This was a particularly enjoyable project for me, as I was given broader responsibilities than just sound design, which included cinematic design and music composition for cinematics and gameplay. 

I had the privilege of collaborating with an incredibly talented team, and I learned a great deal from composers Toby Evans and Rachel Simpson, whose guidance and feedback helped me grow both creatively and technically as a composer. 

Developed with Unity and Fabric 2.0.

(Android/iOS)

I worked alongside the audio team at Outplay to bring this chaotic match 3 puzzler to market.

I was responsible for SFX design, editing and mastering Chef Ramsay’s dialogue, and audio post-production for marketing videos. My design approach focused on transforming everyday kitchen sounds, like clanging pots, chopping, sizzling, into something more playful and engaging. By adding rhythm, texture, and subtle exaggeration, each sound felt lively and rewarding, perfectly matching the vibrant visuals and energetic gameplay. 

Developed with Unity and Fabric 2.0

(Android/iOS)