Audio Designer – Ubisoft
Avatar: Frontiers of Pandora - From The Ashes Expansion
As an Audio Designer on the From the Ashes expansion, I owned the player home environment, designing and implementing immersive environmental and interactive audio that reinforced the space's atmosphere and sense of place.
Using Audiokinetic Wwise and Ubisoft's Snowdrop Engine, I authored spatial attenuation, audio reflections, and reverb zones to create a natural acoustic transition between the exterior environment and the cave interior. I carefully shaped how sound responded to changes in cave geometry, ensuring that movement through the space felt authentic and believable.
I also developed sound palettes for environmental ambience, gameplay interactions, and interactive props, then implemented and tuned them directly in-engine. My work focused on creating a cohesive sonic experience that enhanced player immersion while supporting the environmental storytelling of the home space.
Something I really enjoyed about this project: I loved creating the palette of sounds for meditating, and imagining what sounds meditation makes.
Audio Designer – Ubisoft
XDefiant
As an Audio Designer on XDefiant, I designed and implemented a wide variety of weapon and combat-related audio to support responsive, satisfying gameplay. My work focused on firearm sound implementation, explosive effects, and ensuring audio remained polished and reliable throughout development.
Using Wwise and Snowdrop Engine, I implemented reload audio across the game's weapon arsenal using recordings from a library of authentic firearm sounds, carefully selecting and tuning assets to match each weapon's identity and gameplay feel. I also designed and implemented sound effects for grenades, bombs, and other explosive gameplay elements, balancing impact, clarity, and player feedback.
Throughout production and testing, I worked closely with QA and the development team to identify, investigate, and resolve audio bugs, ensuring high-quality implementation and a polished player experience leading into release.
Something I really enjoyed about this project: After working on this game, I pretty much decided I'm an expert at explosions.
Audio Designer – Ubisoft
The Division: Heartland
As an Audio Designer on The Division: Heartland, I designed and implemented immersive environmental, gameplay, and player feedback audio systems that enhanced exploration, combat, and narrative storytelling throughout the world.
Using Wwise, Snowdrop Engine, and Reaper, I created and managed interior and exterior reverb zones to produce realistic environmental acoustics as players moved through different spaces. I also developed and implemented a persistent radio system featuring multiple in-world broadcast stations, each spatialized in 3D and filtered to match the characteristics of different speaker props. Complementing this system, I created a personal player radio that played the same synchronized stations through a 2D "in-ear" mix, allowing every player within a session to experience the same broadcast simultaneously and reinforcing the game's environmental narrative.
In addition to environmental audio, I designed and implemented player feedback systems for mechanics such as entering contamination zones without a mask and bleeding out, providing clear and immersive gameplay cues. I also contributed to first- and third-person weapon audio, interactive object sound effects, and ongoing implementation throughout development.
Something I really enjoyed about this project: I found obscure Division lore to be a fascinating way to create radio DJ personalities.
Technical Lead & Project Lead
Navy NAWC Surface Contact Training Project
As Technical Designer and Project Lead, I led the development of a VR training simulation in Unreal Engine, coordinating a multidisciplinary team while serving as the primary liaison between the development team and Navy stakeholders. My role combined technical implementation, gameplay design, and project leadership to deliver a realistic and intuitive training experience.
Using Unreal Engine and Blueprint scripting, I designed and implemented interactive gameplay systems, trainee workflows, and user interfaces that supported immersive training scenarios. I also created environmental behaviors and interactions that accurately reflected real-world procedures, focusing on usability, responsiveness, and simulation fidelity.
To ensure authenticity, I incorporated real-world reference materials and field recordings into the simulation, helping create a believable training environment. Throughout development, I coordinated engineering, design, and production efforts, balancing technical execution with stakeholder communication to guide the project from concept through delivery.
Something I really enjoyed about this project: Finding a way to emulate helicopter flight and specific distance-based target circling was both challenging and a good skill to have on hand!
Technical Audio Designer - Get In The Box Studios
Deckweaver
As a Technical Audio Designer, I created dynamic and responsive gameplay audio systems using Wwise and Unreal Engine with Blueprints, focusing on implementation techniques that enhanced immersion and gameplay feedback.
I developed interactive soundscapes driven by Wwise logic, implemented responsive sound effect systems using randomized and spline-based audio variation for non-visual events, and designed an ambient audio system that gave environmental objects their own unique sonic identity, helping bring the game world to life.
Something I really enjoyed about this project: Aside from the explosives.. I enjoyed learning about the sound a blackhole's energy waves emit being roughly 57 octaves below middle C.
Audio Designer – Chonky Racoon Studios
Heart and Core
As the sole Technical Audio Designer at Heart and Core, I was responsible for the project's complete audio pipeline, including sourcing, creating, and implementing all sound assets. My work encompassed SFX, foley, weapons, interactive objects, environmental audio, and music, with full integration in Wwise and Unreal Engine to deliver an immersive and responsive audio experience.
Something I really enjoyed about this project: I loved creating the massive explosions at the end of the game.
Level Designer – Studio Half
Peblito Rock and Roll
At Studio Half, I contributed as a Level Designer on Peblito: Rock and Roll, designing precision-based rolling gameplay sections that challenged players through carefully crafted angles, flow, and momentum. I also created an interactive rolling credits sequence, synchronizing breakable objects with the game's outro musical score for a memorable finale. Beyond level design, I decorated the central rolling-zone oasis, served as the game's narrator, and directed and recorded the main voice actor.
Something I really enjoyed about this project: There were a ridiculous amount of puns the team would use for both rock and roll!