Audio Artist II, Apex Legends

May 2024 - May 2025

While I only had the opportunity to spend a year working on this game, I learned so much from the incredible talent that surrounded me. The Apex team is very well oiled, and I’m happy to say that I fit right in and hit the ground running to get the most out of the experience. To illustrate that, here’s a summary of the wide variety of skills I developed and parts of the game I got to work on:

  • Designed in Reaper and implemented audio for multiple weapons, gameplay features, and UI elements.

  • Shipped seasons 22-25 and pushed 200 changes in less than a year, the first just weeks after starting.

  • Learned Apex’s audio middleware Miles and Source engine animation tagging tools.

  • Recorded foley for the newest Legend, Sparrow, with WB foley artists, edited and implemented those recordings bringing them to life in game.

  • Updated multiple scripts to call events in-game.

  • Learned Apex’s proprietary level editing software in order to refactor audio on various maps for better efficiency, designed and implemented reverb zones, SFX emitters, and ambient beds.

  • Tracked takes in VO recording sessions, edited and processed that VO for use in game.

  • Designed and implemented audio for more than 20 different emotes, finishers, character intros, skins and more.

  • Took part in weekly playtests and design discussions with other teams in order to foster more cross-department collaboration and communication.

Sound Design Intern, Star Wars FPS

Summer 2023

Following this internship I was offered a full-time position at Respawn which I accepted. Before I started full time, however, this game was cancelled, and I was instead moved to Apex Legends.

In the summer of 2023 I was lucky enough to intern at Respawn Entertainment as a sound designer on their now cancelled Star Wars FPS Game. Most of the work I did there is under wraps, but here’s what I can share!

  • My primary task was audio implementation, SFX and event setup in Wwise, then hooking those events into triggers and volumes in Unreal.

  • I also edited and processed over 2,000 foley clips in Reaper, then auditioned them in-engine before making selects.

  • I then created a test level for material surface auditioning to make sure those selects sounded good in context, and not just in Wwise or an empty level.

  • I also presented a demo and informational deck about my process to the entire Repawn studio in addition to showing an expanded 20 minute version to just the Star Wars FPS team.

  • I got to collaborate with other departments to provide feedback on audio in various contexts as well as thoughts and feelings about the game as a whole. The SW FPS team is very interconnected and social, and I got to be a part of many game-changing conversations over the course of the summer.