Apex Legends

I had a blast working as an Audio Artist II at Respawn Entertainment on Apex, check out the highlights of my contributions to the game as well as an in-depth breakdown of my responsibilities below!

• 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

Brinkmanship

My graduate thesis game, Brinkmanship, was published on Steam in 2024 and was part of the 2026 NarraScope Showcase, nominator for best narrative.

I set up the game’s Wwise project and integrated it with Unity, teaching a 4 person sound team how to use the middleware and push their own changes.

Brinkmanship features 8 fully voice-acted characters and over 1,000 lines of branching dialogue. Depending on your choices there are three core endings, with dozens of character endings in each.

I did a majority of the audio scripting, all in C#, implementing all the SFX, VO, and music in addition to cutting the trailer above.

As a sound designer on Interleave Creative’s roster I was lucky enough to work with Night Street Games on their debut title, Last Flag. While the engagement was limited, I was onboarded and pushing changes just two days after starting the job. Last Flag’s style was very cartoonish and over the top, not a direction I had a lot of familiarity with, but I had a blast combining classic comedy SFX with Last Flag’s own funk-infused sci-fi aesthetics. Check out the highlights below!

• Sound design and implementation in Unreal 5 and Wwise for multiplayer shooter

• Finisher animation covereage

• Ability SFX

• Debugging map audio sources and ambient audio volumes

• Participated in daily audio team meetings to provide updates and feedback on other audio elements in the game

Canyons

I had a lot of fun with the sound design for Canyons. It’s got lots of fun immersive elements like:

• Deeply layered audio for the player’s ship that allows it to change as you upgrade it

• Day/night sound-cycle

  • Smoothly crossfading ambient tracks at sundown and sunrise for the over-world and in town

  • A variety of stingers (coyotes, wind gusts, etc) specific to the time of day

• Unique voices for each character

• Full suite of SFX for each UI interaction

• Dynamic music

• And lots of gameplay-related SFX throughout!

An experimental exercise in Unreal 5 that was designed to reflect a very particular emotion; something loud and quiet, fast and slow, sharp and smooth.

The in-engine screenshot here shows the overall setup: the volumes selected are audio emitters and their respective falloff distances, each arranged around a reflective water surface. The white ring around the pond is the camera rig rail on which the camera travels in a loop, getting closer to and further away from the audio sources, mixing them in real-time based on proximity. The tornado itself is a niagara system spinning in the opposite direction of the camera’s travel.

The audio I selected reflects some of the emotions I was trying to get at, but also mirrors what was playing in my head at the time: 100 Gecs, Antonio Sanchez's Birdman soundtrack, Dead Leaves and the Dirty Ground by the White Stripes (just the feedback at the beginning), some cicadas, a few crickets, and Man of Oil by Animal Collective which smooths over the whole experience as it fades in and out.

I admit it’s a little strange, but it felt great to successfully get something so abstract out of my head and into an engine.

Men In Black: International Re-Design

Below is a redesign I made of some clips from MiB: International. It was great practice making some awesome sci-fi weaponry SFX mixed in with some truly strange and otherworldly textures.

I’ve also included one of my favorite bits pulled out as a standalone audio file. The rocket and its impact were tons of fun to dial in. To the right is a peek at just some of the layers involved. Give em a listen!

Radio Exurbia

An Unreal 5 game, Radio Exurbia is a driving exploration game where players can swap at any time between two separate levels.

I designed and implemented all audio using Wwise and the granular audio plugin Rev2, with a license for the latter software provided for free by Crankcase Audio.

I also collaborated closely with composers from Berklee College of Music for the game’s original soundtrack.

The Divine Cove

The Divine Cove is a linear audio drama about youthful optimism in a crumbling world.

For this project I did a bit of voice work, focusing on editing and clarity while also building out a sense of space and narrative coherence.